Elephant-astic!
THE MAGICIAN’S ELEPHANT
ROYAL SHAKESPEARE THEATRE, STRATFORD-UPON-AVON HHHHI
The town of Baltese has emerged from being in the grip of war, its weary community down-beat and left with little hope. They plod through life mourning the lives lost and not daring to dream there could be something better ahead.
At the forefront is Peter Duchene, an orphan who lost his dad on the battlefield and is now being brought up to be a soldier by a war damaged adoptive father.
But when sent to market to get some stale bread and fish, Peter is enticed by a fortune teller’s tent. Spending his only floret in return for some news of his future he learns something remarkable – his sister is very much alive and he could find her with the help of an elephant.
The preposterous idea is brought alive when a magician on stage at a nearby show somehow manages to conjure up an elephant instead of a bunch of flowers – sending the town and its police force into slapstick chaos.
The creature – magnificently done with a giant, life-like puppet dominating the stage – brings new hope to the tired town when they believe touching the elephant could make all their dreams come true.
Kate DiCamillo’s captivating children’s book has been brought to life with this musical, full of vibrant characters, plenty of slapstick and fun as well as sadness and hope. It is also a tale fit for modern times – of people coming out of an extraordinary period with uncertainty, anger and fear.
The anguish as they sing ‘‘never let yourself dream, stick to the old routine’’ is very much a nod to the Covid era – the contemplation of what on earth comes next and whether it will be the same again. There are even a few protesters demanding you ‘‘Do not follow the elephant’’ but they are quickly ignored.
A joyous production with a fantastic cast, brilliant choreography and flawless puppetry which made it easy to imagine this life-sized elephant as real.
A highlight was the flamboyancy of Countess Quintet, superbly performed by Summer Strallen, with her squeaky voice put downs and operatic tones very much like Miranda Richardson’s Queenie in Blackadder, her jaw-dropping costumes fitting her extravagant persona.
Jack Wolfe was excellent as the vulnerable Peter, his superb, knock out vocals leaving the audience hanging off every word.
And we will find it hard to forget the wonderful Renu Arora’s Madame LaVaughn. Anyone watching this production will no doubt be singing “crushed by an elephant” long after they have left the theatre.
A triumph. Welcome back RSC, we have missed you.
SARAH PROBERT