Love, passion and shame tune in through this discordant new play exploring the personal and cultural struggles of a young artist. Guillermo Nazara shares his views on the show, to let us know if its shrill drama hit the wrong key.
We often hear that music soothes the savage beast. But actually, no other art can unleash such a powerful creature within us like the one that’s lit by the firey strikes of sound. Stories dealing with artists and the conflicts that hone their craft are usually a fruitful topic to explore: they have the drama, they have the appeal, they sometimes even come with a philosophy under its skin. Yet, the potential for an insightful, moving piece is fairly equalled by the possibilities for a work tainted by biased preachment – forgetting (or perhaps, ignoring) the fact that, for a message to have an impact, it’s crucial to let the viewer come to their own conclusion – giving them the tools to think, but never telling them what or how they should.
The Bush Theatre continues its autumn offer with Elephant, a one-woman play by Anoushka Lucas about the life of a young songwriter and the effects of her cultural background, experiences and beliefs by and on today’s society. Devised as a play with songs, featuring an intricate repertoire of original acoustic rock music, the show reflects on the usual topics of an urban, everyday life through the eyes and sensitivity of a creative soul craving for her voice to be heard.
A more than enticing concept to put onstage, its charm is nonetheless toned down (no pun intended) by its determination to make a statement. A clash of interests between the love for what the protagonist does and the shameful origins of what allows her to do so (at least, to some degree), its blazing beat is however silenced by a slightly overloud, sermonizing timbre – rejecting the possibility for a more stimulating, thought-provoking show due to an excessively moralizing approach.
Directed by Jess Edward, the montage (starring its own author) does feature nonetheless some inviting elements that guarantee a few quite enjoyable sections. Its score, serving as a tool for both shift and exposition, creates a whimsical ambiance that’s fairly supported by Georgia Wilmot’s simple yet effective set design, as well as its highly suggestive, atmospheric lighting. However, all of these components can’t manage to fully assemble due to the play’s unpolished pacing – as despite its more rhythmical non-linear style, it still needs to find the right pulse not only to maintain its engagement, but to also keep it in crescendo.
With enticing musical performances, strong acting and a sound starting point for its plot, Elephant counts on several major bits that could have (and still can) make of it a triumph. Yet, some restructuring and a deeper, firmer leap into the character’s arc and the delivery of its ideas will be crucial to make of this recount a more melodious, compelling journey – let those battles be relatable and, all in all, build a bridge that can connect to the hearts of anyone coming to watch. If we wish to give art meaning, first we must allow it to make us feel.
Elephant plays at London’s Bush Theatre until 4 November. Tickets are available on the following link.