![]() It is a story made for a stage, simple yet compelling in the way it is told and presented. Thankfully though, that is soon forgotten as it picks up well from this faltering start.Įlephant’s Graveyard is an enjoyable online watch, which will surely make you remember the thrill of being in a real theatre. Instead, watched on a screen, well, it’s easy to get distracted and for the carefully crafted tension to be broken, especially during opening scenes that would certainly work live, but here could benefit from a cut or two. I yearn for these talking heads to be on a stage, to present the story to a real audience who would gasp and laugh, and for that intake of collective breath as the story hurtles towards its grisly end. I can’t help but imagine how much better this would work live. There are elephant graveyards across Africa. There are piles of them in mounds littered across the land. The elephant bones the length of a broom and thickness of a rugby players thigh. Of course, even with such a professional look, it can’t quite hide the fact this is very much a theatre show presented for online consumption. An elephant skull is the size of an arm chair. But really, the cast are all outstanding, and any of them could be a personal favourite. Amongst the townsfolk Phoebe Naughton grabs the attention, her slightly goofy manner making you wonder if she might mean it literally when she describes pissing herself with laughter. Then there is Dannie Harris’ smutty ballet girl, giving a cheeky smile at how an elephant’s trunk is best when erect. Esmee Cook has all the required pathos as a clown, her make up spot on to display her sadness. Whilst bizarre, it is still a simple story, so it’s the characters that compel you to watch. Phil Sealey’s editing is faultless, transitioning smoothly between each talking head. The story is constructed piece by piece, each character telling us a little more, building up the picture of a travelling circus and the excitement that they cause when they visit a small town. And then there is Luke Potter’s music, painting further mental images of 1916 America. A lovely extra touch is the film’s grainy flickering effect, reminiscent of silent movies. The make up and costumes are outstanding, as are the backdrop images used throughout traditional circuses and a town straight out of old western films. One by one we’re introduced to the circus team and townsfolk.
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