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The Elephant Song

 

Presented by Bakehouse Theatre Company
Reviewed Saturday 12th November 2011

http://www.bakehousetheatre.com/shows/2011/elephant-song

Venue: Bakehouse Theatre, Angas Street, Adelaide
Season: 8pm Wed to Sat until 25th November
Duration: 1hr
Tickets: adult $20/conc $15/drama and school students $10
Bookings: 8227 0505 or http://www.bakehousetheatre.com/shows/2011/elephant-song

Nicolas Billon's story sounds basic enough on the surface. A psychiatrist, Dr. Lawrence, has gone missing. The last person to see him was Michael Aleen, an elephant obsessed patient that he had been treating for some time,. The head of the clinic, Dr. Greenberg, meets with Michael in the hope that he will tell what happened. A nurse, Miss Petersen, warns Dr. Greenberg that Michael is very smart and will try to outwit him.

What happens, however, is a convoluted series of mental games in which each attempts to counter the other's efforts to take control of the situation. Michael continually seems to try changing the subject to something that appears irrelevant, although he insists otherwise. He tries to engage Dr. Greenberg and also get emotional reactions from him, to break him free of his professional detachment.

It turns out that Michael's mother was a famous soprano and, in revealing this, he asks to hear a recording of her singing. From Giacomo Puccini's opera, Gianni Schicchi, we hear Lauretta's aria to her father, O mio babbino caro (Oh my beloved father), which contains a hint as to Michael's ultimate pay-off, which Dr. Greenberg misses. Michael explains that she never gave him her time or her love, focussing entirely on her career.

Miss Petersen either interrupts, or is called in to the office a number of times during the interview and keeps offering advice and warnings to Dr. Greenberg, which he arrogantly brushes off.

Michael hints at foul play and indicated that he has killed the missing man, then accuses him of abusing his position of trust by having engaged in a sexual relationship with his patient, admitting that he in turn loves his doctor. Eventually, Michael appears to have been caught in a corner and begins to help Dr. Greenberg, giving him half of a note that the missing man had left behind. After a final trade agreement, for a few chocolates, he provides the other half of the note and all is revealed, but there is still a twist in this tale.

Peter Green has done a fine job of varying the pace to suit the changing situation, and building and releasing the tension. Tim Lucas plays Michael Aleen, in a portrayal ranging from manic, to hyperactive, to depressed, to calm and even seeming to suppress physical violence. There are a lot of laughs to be had in Michael's antics, but sudden sinister turns stop them dead. One moment we like him, the next he disturbs us.

Roger Newcombe's Dr. Greenberg is self-assured and controlling, reacting quickly and effectively with a range of ploys to counter Michael's mood swings and mind games. Newcombe, in yet another of his well-considered performances, gives his character an air of authority and is completely believable in the role. Lyn Pike gives strong support in the smaller role of Miss Petersen, gently comforting, cajoling and calming Michael and frustrated that her warnings are not being heeded, every bit the attentive nurse.

Peter Green also designed the set and lighting, a smart office with all of the usual accoutrements that fits the bill nicely. This black comedy, mystery, psycho-thriller is sure to have you guessing as you switch between laughing and sitting on the edge of your seat.

Reviewed by Barry Lenny, Arts Editor, Glam Adelaide.

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