Brilliantly directed by Jason Moore with fluidity and suspense, with meaningful actions and subtle shifts in tone which leave the audience with chills, The Elephant Song takes us on a journey of mystery.

Credit: Giacomo Giannelli

The hospital Director, Dr Greenberg (Jon Osbaldeston) is determined to question Michael (Gwithian Evans), whom is suspected to be involved in a psychiatrists sudden disappearance. Ignoring the head nurse’s (Louise Faulkner) warnings that Michael will play mind games, Dr Greenberg is adamant in finding out answers amongst the puzzles, although Michael is willing to oblige as long as he promises three notes, one being that the doctor does not read his files.

In a sense of real time, the audience sits through a full-length 75 minute continuing session, where the doctor’s patience soon wears thin dealing with endless elephant facts, intense allegations, and tales. As soon as he is getting somewhere he’s back at square one, and as an audience member, the writing keeps you guessing and wondering which of Michael’s words are true as he has such conviction. Writer Nicholas Billon entangles clever humour, genius dialogue, and a chest board of writing that could strike checkmate at any moment. Everything has a place, though there are new points that unravel from the dialogue even as you think back to it how it’s so intricately interlinked in such a seamless way.

Credit: Giacomo Giannelli

Evans gives a powerful performance in personality changes, an uneasy calmness, and a strong understanding of the character’s intent in which he is meticulously puppeteering how the session plays out. With a new doctor, there is a chance of his freedom, which is his one desire.

Osbaldston’s character does well at attempting to play along with an approachable mannerism whilst also clearly dealing with some home struggles, shown in his reluctance in answering his wife’s calls. It is subtly clear he is becoming agitated by Michael’s constant bartering but always feels he is so close to the truth.

Credit: Giacomo Giannelli

It’s hard to say much on the show as its clever entangles lead to so many different points, yet the play itself flows effortlessly from one section to the next. Riddled with anticipation, it turns corners, never knowing where it will go next. I was fixated from Michael’s entrance, and the show is well thought-out from start to finish with a satisfying conclusion. Playing at Park theatre until the 11th of February, this is one not to be missed.

Rating: 4 out of 5.

{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}

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