Elephant's Graveyard
at Oakton High School

Reviewed on November 22, 2013

Margaret Gorguissian
West Potomac High School
Submitted for publication to Washington Post - Fairfax

It was September and there was a town. There was a circus. There was a railroad. There was an elephant - and then there wasn't. Based on a chillingly true story, Elephant's Graveyard, written by George Brant and performed at Oakton High School, follows the story of Mary, "The Largest Land Animal on Earth," and Spark Circus through their stop at the backwater town of Erwin, Tennessee in 1916. A parade down Main Street goes horribly wrong, and Mary ends up trampling a newbie trainer. The town's calls for justice - and blood - are answered, and in the disturbing denouement of the play, the no-name town of Erwin becomes the first and only place to lynch an elephant.

A play rife with mature themes and social criticisms, Elephant's Graveyard was performed so well that it was easy to forget one was watching high school theatre. The stage presence of the circus- and townsfolk was strong, with each character speaking with clarity, notwithstanding a few bungled lines. The chemistry of the ensemble was high, despite the fact that they rarely interacted due to the monologue format of the show. Each performer exhibited commitment to and immersion into his/her role. Christine Cox's performance as the no-nonsense, business-oriented Ringmaster had one both rooting for her and resenting her. The loving bond that both the flirtatious Ballet Girl (Emilia Brennan) and the stalwart Trainer (Alex James) had with Mary was palpable, as each spoke with such sincerity. Though his facial expression was limited to a painted on smile, the Clown (Quentin Smith) delivered his wry lines with excellent intonation. Gunnar Michael kept his accent consistent as the Eastern-European Strongman, as did many of the townsfolk with their Southern accents. Two stand-out performers from Erwin were Hailey Dougherty as the Muddy Townsperson and Eric Petrides as the Steam Shovel Operator, the emptiness each faced, as a widow and drunkard respectively, was apparent, in spite of the somewhat humorous delivery of lines. All members of the town of Erwin were disconcertingly ferocious in their initial demands for carnage, despite the earnest Preacher's (Nic Hill) attempts to dissuade them. The raw regret they felt after the blood was on their hands left the audience shaken. Although no elephant was ever seen on stage, the ensemble gave such a convincing performance one could certainly feel Mary's presence.

The minimalistic set, designed by the OHS Tech Theater class, allowed for both stark focus on the actors and effortless switching between the settings of the town, railroad, and circus. The use of a large picture frame to create a ‘real life' Sparks Circus poster on stage was creative, as was the fabric circus tent. Lighting (Jess Farhan) was executed well, with the beautiful wash of color on the backdrop changing for the time of day and mood. Sound (Connor Golden) ensured that all performers could be heard over the band. The band, Walter and the Dirty Boots, consisting of John Fee, Jack Goodin, and Justin Pirrochi, gave the show a new layer of depth. The composition of themes for each of the characters helped to flesh out and emphasize the roots of each of the characters, most noticeably with the use of Russian folk music during the Strongman's monologue. Percussionist John Fee contributed a multitude of sound effects to the show, including train whistles, ticking clocks, and shovels of dirt.

Oakton High School's actors and tech crew effectively painted a picture of rural America and offered a chilling critique of American culture's thirst for violence and vengeance.

Claire Seaton
Washington Lee High School
Submitted for publication to Washington Post - Fairfax

"It was September, and there was a town, and a circus, and a railroad, and a man with red hair, and an elephant." The words echoed through Oakton High School's theater again and again, ringing in my ears, over and over like the clack-clack of a railroad car. Oakton's performance of Elephant's Graveyard was a sobering reminder that humanity is capable of rising to great heights — and just how far we have to fall.

George Brant wrote Elephant's Graveyard to tell the story of Mary the elephant, who was hanged in 1916 in Erwin, Tennessee for stepping on her handler's head. As a nod to the oral tradition through which the tale was passed down, Mary's story is told in a series of monologues given by the townspeople of Erwin and the members of Sparks' World-Famous Circus. At Oakton, there was no elephant, no chain, no railroad crane onstage — only the stories, and the people who told them.

The cast embodied the tight-knit communities of the townspeople and circus folk, conveying individuality and relationships in spite of the lack of dialogue. The ensemble would remain in character even when not giving a monologue, adding to the mood of the scene without overwhelming it. Ensemble shows are a tricky business, but this cast rose to the challenge, particularly when creating tableaux and speaking in unison.

Prominent among the show's standouts was Christine Cox in the role of the Ringmaster, the leader who knows what the people have seen and who tries to give them what they want. Cox demonstrated excellent stage presence and character commitment, genuinely depicting the struggle between what is right and what is the will of the people. Alex James was equally notable as Mary's Trainer, navigating the nuances of his complex role with ease. Hailey Dougherty as the Muddy Townsperson was also impressive, maintaining an accent and a hunched physicality consistently throughout the show.

The show was underscored by Walter and the Dirty Boots, an onstage band comprised of students John Fee (drums), Jack Goodin (banjo), and Justin Pirrochi (guitar). Pirrochi and Goodin composed twelve pieces of original music, crafting themes and leitmotifs that effectively contextualized and characterized different roles. Fee provided many of the sound effects as well, evoking railroads and roustabouts with a flick of his wrist. The excellently executed music provided an undercurrent that carried the show that became distinctively darker as the justice meted out by the people turned sour.

The set was minimalistic, featuring a well-placed bench and a circus tent that could be raised and lowered with a pulley system. Costumes and makeup delineated the muddy townsfolk and the brightly colored circus workers, individually characterizing each role and staying true to the period. Lighting design utilized the cyclorama to add to each scene's visual timbre, and contributed to the darkening mood throughout the play.

It is shows like these that change an audience's state of mind: after the cast takes their final bow, we are left wondering, questioning the status quo. When we rise from the mud, do we clean ourselves off, or do we sink back into it? Do we judge based on actions, or our investment? It is said that an elephant never forgets… but it is something mankind does far too often.

Margaret O'Meara
West Potomac High School
Submitted for publication to ShowBizRadio.net

"It was september, and there was a town, there was a circus, there was an elephant, and there was a man with red hair," these words, spoken over and over by the cast of Oakton High School's captivating and intriguing production of Elephant's Graveyard, foreshadowed the dreadful story of a circus' misfortune in the small town of Erwin, Tennessee.

Elephant's Graveyard written by George Brant, is based on a true story, walking through the tale of a circus elephant, by the name of Mary, who was brought to the town of Erwin Tennessee. Mary was a large animal who captivated audiences across the nation. When the Circus arrived in Kingsport, just one stop before Erwin, a man with red hair was so captivated by Mary, that he joined the Circus that very day. He was given the opportunity to ride Mary in Irwin's circus parade, against the elephant trainers wishes. Unfortunately, he was not ready and Mary threw him off her back and crushed him. The town was enraged and demanded that the elephant be killed. Elephant's Graveyard captures the stress put on the Circus performers by the killing of the elephant.

The carnies; the Ringmaster (Christine Cox), the Strongman (Gunnar Michael), the Clown (Quentin Smith), the Ballet Girl (Emilia Brennan), and the Trainer (Alex James), gave outstanding performances. Of these players, the Ringmaster, the Ballet Girl, and the Trainer stood out on stage. Cox portrayed the mercenary Ringmaster, who knew that ‘an elephant was an investment,' with her frank attitude and slight uncertainty in her self, perfectly showing the Ringmasters hesitation to see if she can live up to her fathers expectations. Every time the Ballet Girl pranced on stage, she brought the spirit and swagger of a flirtatious showgirl who can flash a smile to grab one's attention and claims ‘an elephant is a girls best friend.' James depicted the loving animal trainer thoughtfully and pulled at heartstrings when he lead his love, Mary, to her death.

The alluring back lighting silhouetted the circus tent allowing the circus to be seen during a character's monologue without overshadowing their performance with distracting colors and tones. The spotlight lighting, specifically on the Ringmaster, set the tone of her monologue, casting shadows and sharp angles on her face on stage.

Set Design by Oakton High School tech class was plain, simple, and perfect for the show. Big, distracting set pieces would have taken away from the characters actions and monologues. The set pieces included a small circus wagon, bench, and circus tent. The band, Walter & The Dirty Boots, also doubled as set pieces when the Strongman pulled the band across the stage.

The shows sound effects and music was performed by the three-man band, Walter and the Dirty Boots (John Fee, Jack Goodin, and Justin Pirrochi). Goodin and Pirrochi composed and arranged the shows music using the lyrics from John Hurt and Etta James' song "You Got to Lift It." Goodin and Pirrochi also made new arrangements off of Julius Fucik's song "Entry of the Gladiators." Walter & The Dirty Boots enhanced the actors monologues by giving background music and sound effects while they performed. The band, for example, enhanced the Ringmaster's monologues by softly playing "Entry of the Gladiators" behind her and playing a russian-like arrangement for the strongman's monologues. The band also provided sound effects using a train whistle, ratchet, and a bell tree.

Oakton High School gave a fantastically incredible performance of Elephant's Graveyard, a heartbreaking and touching story of a circus, an elephant, and a vengeful town who wanted justice for an elephants unintentional wrongdoing.

Maura O'Reilly
Washington Lee High School
Submitted for publication to Red Apple 21 - FCPS

Silhouettes of characters against a deep blue background. Sniffles in the silence. This simple picture created the final image of Oakton High School's poignant production of Elephant's Graveyard.

Based off of a true story, George Brant's 2008 play Elephant's Graveyard tackles the issue of inhumanity and the emotional journey of a town in the midst of a tragedy, and is often discussed as being written as an allusion to capital punishment. Mary the Elephant was the main attraction in Sparks World Famous Shows Circus, a cross-country traveling spectacle. In the town of Erwin, Tennessee in 1916, a wannabe elephant trainer was killed by Mary after he tried to keep her in line during the traditional pre-circus parade. After this catastrophe, the townspeople of Erwin insist on ridding the world of this "murderer" by hanging her from a railroad crane. After a brutal and botched first attempt and a successful second try, the emotions of the town begin to change.

With minimal set, subtly powerful lighting, and a cohesive ensemble, Oakton's production evoked sniffles as well as chuckles from the audience. All of the elements were carefully interwoven to create a highly believable world with perfect balance between the lightheartedness of a coming circus and the despair of a tragedy and regret.

Christine Cox led the cast as the Ringleader. A joy to watch, Cox embodied a sleazy yet affectionate ringmaster who cares only for the well being of her circus, at least for the first half of the play. The raw hopelessness and distress that shone through her ringleader facade when she realized that her beloved moneymaker elephant was more than just a prop was honest and heartbreaking.

A clumsy showgirl disguising herself as a ballerina, Emilia Brennan displayed the perfect amount of awkward as the Ballet Girl with her attempts at being graceful by pointing her feet and prancing around the stage. Hailey Dougherty as the Muddy Townsperson drew giggles from the audience with her crazy attitude and eager energy and excitement. Alex James as the Trainer was authoritative and jealous, yet had the right touch of caring and sympathy for his closest friends, the elephants. Grant Seastream as the Engineer also brought a powerful presence with his pride for the railroad taking precedent over his feelings for the situation. Seastream also managed to draw audible reaction from the audience, in the form of scoffs of frustration with his character.

The three-person band, Walter and the Dirty Boots (John Fee, Jack Goodin, and Justin Pirrochi), was a clever addition. Providing a mostly original or freshly arranged underscore for the whole show, the transitions between pieces were unnoticeable with each song becoming more dark as the story progressed. To further supplement the story, the band also supplied sound effects such as a train clackity-clacking its way down the tracks.

The minimal set was effective in helping focus the story on the action instead of the surroundings. When there was more than just a curtain, the set was magnificently simple. The centerpiece was a multicolored circus tent, raised from the ground by the actors. To accompany the set, the lighting design by Jess Farham was exquisite, with mood lighting emphasizing the action in each scene. A highlight was the almost unnoticeable fade to a stark red during the killing of the untrained elephant trainer.

Clocking in at a perfect length of 75 minutes, the entire cast of Oakton High School's Elephant's Graveyard should be commended for producing an emotionally challenging show that was deceptively complicated and left most of the audience in tears.

Lily Brock
Langley High School
Submitted for publication to Patch.com- CH/Lorton/Oakton

To hang an elephant: a task as difficult in its undertaking as it is absurdly cruel. Oakton High School's cast and crew explored the moral conundrum posed by such an act in their heartbreaking depiction of Elephant's Graveyard. Anchored by a highly dedicated cast, imaginative staging, and musical accompaniment by the "Walter and the Dirty Boots", the circus came to town with a little more than peanuts and kettle corn to offer in Oakton High School's polished performance.

Written by George Brant, "Elephant's Graveyard" focuses on the horrific execution of the "Sparks World Famous Shows" circus elephant, "Mary" after she tramples her newbie trainer. Set in the 1916 muddy holler of Erwin, Tennessee, the play explores the true nature of justice through a series of intertwining monologues from the carnival workers and town inhabitants.

Christine Cox, in her portrayal of The Ringmaster drove the production with a commanding stage presence. Cox crafted the show's forceful center, depicting her character's struggle between her monetary "investments" and her compromised humanity. Likewise, Emilia Brennan as The Ballet Girl demonstrated impressive range as she morphed her character from a beguiling temptress into a young woman in the throes of despair. As unafraid to flash a little thigh as she was to depict raw vulnerability, Brennan sauntered and cart wheeled with a dynamic dedication. Portraying the Trainer, Alex James added an element of heartbreak in the climatic scene as he raced through the audience with a parade of imaginary elephants. Depicting a character the emotional opposite of James's, Grant Seastream conveyed a cold confidence as the Engineer, preaching on the importance of trains and time to the "tick, tock, tick, tock" of the band.

The Hungry Townspeople, played by Laura Branton and Tori Womble, provided both witty and disparaging social commentary on the dreary world of Erwin in their southern drawls, nonchalantly tossing peanut shells onto the stage. No moment was perhaps as chilling and well executed as when the entirety of the townsfolk ensemble gathered on the edge of the stage to watch the imagined execution of the elephant. With precise pantomime and focus, the ensemble escalated the tension to the point that the big eared star's grotesque end seemed to be taking place right on stage. As the townspeople's expressions of giddy anticipation moved to terror, the sound of hushed sniffles and gasps murmured throughout the enthralled audience.

The set, although minimalistic, allowed for the creation of an imaginative setting. The carnival atmosphere was brought to life as a monstrous circus tent was drawn up on stage. The student band, Walter and the Dirty Boots, provided a folksy underscore for the performance as well as precise sound effects. Their original compositions transported the scenes to 1916 Tennessee with each strum of the banjo. As the subject matter became increasingly morbid, the music shifted into a morose, haunting backdrop. The group maintained constant focus, each sound effect coordinated in time with an actor's movement.

Although a complex work such as Elephant's Graveyard may be daunting to some, Oakton High School's cast and crew proved more than capable in its undertaking. Approximately seventy five minutes in running time, the captivating production sparred neither cheek nor program of a smattering of tears.

Isabel Zapata
McLean High School
Submitted for publication to Connection

Who's to determine someone's right to live or to die? The justice system? A mob of angry, revenge-driven townspeople? On the Oakton High School stage, a poignant retelling of Mary the elephant's disturbing fate makes viewers question their confidence in the very principles of justice.

Based on a true story and set in 1916, George Brant wrote Elephant's Graveyard in 2008, winning the Keener Prize for Literature in the Cohen National Playwriting Awards. Told through a series of monologues, the story follows a struggling circus and the events that happen after one of their elephants kills one of her cruel handlers. Elephant's Graveyard emphasizes themes such as the consequences of misunderstanding, the enormous gap between artists and their audiences, and the debate over the morality of the death sentence. Opening with the lives of the circus misfits and resulting in the only known lynching of an elephant, Elephant's Graveyard has the audience in stitches at the open and tears at the close.

Leading the show as the Ringmaster, Christine Cox uses grandiose physicality to represent a position of power and impressively develops her character's mood to match the changing events leading to the climax. Just as proficient in the use of her physicality, Emilia Brennan as the "innocent" Ballet Girl maturely handles her flirtatious character and builds a convincing relationship with Mary the elephant, bringing more emotional depth to the climax of the plot. Alex James as the Trainer also creates a notable relationship with the elephant, displaying clear, consistent affection for Mary.

As an ensemble, the townspeople work well with each other on stage, feeding off of each other's energy and using appropriate reactions to create a tragic atmosphere during Mary's hanging. Walter and the Dirty Boots display fantastic musicianship and performance capabilities, playing throughout the show on stage and adding to the mood of each scene without distracting from the actors' monologues. Quentin Smith as the Clown deftly broadens his character's emotional range, transitioning from the comedic jester to the man mourning the loss of a friend. Hailey Dougherty as the Muddy Townsperson excellently captures the vehement attitude of the townspeople in their rage against the elephant while consistently sticking to her accent and physicality.

Crew members at Oakton High School use simple yet very effective technological aspects to enhance the production. The lighting crew plays with striking silhouettes, symbolic colors on the scrim, and intense shadows to frame the stage, potently adding to scene moods. The hair and make-up crew commendably personalizes all hair choices and neatly executes the designs. Justin Pirrochi and Jack Goodin, guitarist and banjo player in Walter and the Dirty Boots, independently compose and arrange music to underscore the show. They create musical themes for each of the characters that almost perfectly capture their personalities while staying stylistically accurate with the time period.

Taking on a excellent but demanding theatrical piece, Oakton High School reaches through music, drama, and imagery, making viewers re-examine their own approach to entertainment. Thought provoking, shockingly current, and palpably affecting, Elephant's Graveyard is reality at its best, and guaranteed to give the audience an incredibly personal experience.

Gillian Wright
McLean High School
Submitted for publication to Fairfax County Times

It was November and there was a town. Vienna, Virginia. There was a school. Oakton High School. There was a play, Elephant's Graveyard. It was November and there was a town and a school and a play. Oakton's performance of Elephant's Graveyard was hauntingly beautiful, with each individual testimony shedding light on a dark tale.

George Brant's Elephant's Graveyard tells through a series of vignettes the story of a circus elephant who is condemned by a small town after killing her trainer during a parade. Based on the true story of traveling carnival in 1916, the play won the Keene Prize for Literature in 2008 and is well known for its twisted view of what happens behind the circus curtain. When Sparks World Famous Show comes Erwin, Tennessee, a much anticipated production is overshadowed by the townspeople's craving for the death of the elephant after she crushes an unexperienced circus employee in front of the town.

Christine Cox's (Ringmaster) performance captured the strife of an economical business owner trying to appease her audience, no matter the toll on her workers. Her superb physicality and calm, collected nature with sorrowful undertones brought her character to life. The vibrant group of circus members included a lascivious Ballet Girl (Emilia Brennan) and melancholy Clown (Quentin Smith). Ballet Girl's comedic timing and suggestive behavior lightened the mood of the show, and the Clown's grim words conveyed a disconnect between his cheery stage identity and dolorous personality.

But the circus characters would be nothing if not for the sorry town of Erwin. The dismal aura of the town was effectively portrayed by the Muddy Townsperson (Hailey Dougherty), as she candidly told her heartbreaking story of widowhood, maintaining a disparaging disposition throughout the play. The Preacher (Nic Hill) added to the woeful feeling of Erwin as he bleakly spoke of his neglected church. Though there were occasional difficulties with memorization, the townspeople as a whole collaborated to bring the humble community to life, creating a dynamic setting for a powerful story.

Enhancing every emotion of the show tenfold was the band Walter and the Dirty Boots (John Fee, Jack Goodin, and Justin Pirrochi), with music perfectly written to amplify every character trait and plot twist. Most impressively, Justin Pirrochi and Jack Goodin (guitarist and banjo player of Walter and the Dirty Boots) wrote not only music to the opening song but also a dozen additional original scores to provide accompaniment throughout the production. This remarkable feat paid off stunningly, fitting each new development of the story perfectly. Giving each character an individual semblance were personalized hair and makeup as well as fitting props. The advertising techniques used were commendable, including social media posts announcing opportunities to meet characters.

The performance established strong relationships within the town despite a lack of dialogue in the script. This accomplishment, alongside student written music and well developed characters, made for a moving performance. The ringmaster's forbidden dream of making a crowd leap to its feet became a reality after Oakton High School's production of Elephant's Graveyard.