Review: The Turquoise Elephant

**Picture (L to R)**: Basra (Rebecca Day), Visi (Clarise Ooi), Jeff (Robert Wainwright), and Augusta (Sandra Harman). *Picture Credit: Creative Futures Photography.*

Congratulations to Observatory Theatre on this excellent start to their 2023 Season. A great choice of play, cast, creatives, and venue. Just a pity that this show doesn’t have a longer run.

Stephen Carleton's black farce, The Turquoise Elephant, is a play for our time. Set in a dystopian future, where the world teeters on the brink of catastrophe, Carleton contrasts different responses to environmental collapse. One family encompasses three different extremes. Confined to their ivory tower, blogging Basra (Rebecca Day) argues for change—while her voyeuristic gluttonous Aunt Olympia (Amanda McErlean) is the ultimate tourist, and Basra’s exploitative Grandmother Augusta (Sandra Harman) is the ultimate consumer. Into this high rise luxury world of privilege, Carleton brings two outsiders, each with their own agendas and responses to the emergency: the American opportunist, Jeff (Robert Wainwright), and the environmental refugee, Visi (Clarise Ooi).

The impacts of gluttony and waste are a key theme in The Turquoise Elephant: ‘Melbourne is drowning in its own shit,’ reinforced by Augusta’s fantastic entrance as the recipient of the ‘excremental artwork,’ and the later disgusting consumption-vomiting by Olympia. But all seven of the deadly sins are portrayed in this play—from the inaction of the blogger and the envy of the fraudster, through to the lustful and gluttonous behaviour of Aunt Olympia. However, the outstanding representation of the ‘sins’ of the people was clear to see in Harman’s fabulous portrayal of Augusta, with memorable depictions of greed, pride and wrath. Augusta is undoubtedly a fabulous part to play, and I absolutely loved the way in which Harman built on every opportunity: great as the controlling grandmother (and ‘grieving’ mother); disdainful and occasionally impressed as the mistress of the house (lovely interactions with Ooi’s Visi); a triumphalist climate-denying leader of State; and alternately pitiful and bonkers in recovery.

The casting for this production was excellent. In addition to Harman’s fantastic leading role, McErlean gloried in the opportunity to play the quite disgusting, lusting and occasionally maniacal Aunt Olympia. Wainwright’s Jeff was suitably two-dimensional—although I’d like to see just a little more of his relishing the moments of evil manipulation. And hats off to the cast and Director on teasing out Visi and Basra’s ‘yin and yang.’ Ooi and Day created excellent counterpoints, developing the contrasts between each of their characters in a nuanced way that built inevitably toward the concluding final scene. In the interests of not introducing any spoilers into this review, I won’t refer to why I loved that fantastic final moment between Ooi and Day; you’ll just need to buy a ticket for the show.

Great set, lighting and sound (Noah Milne, Lighting & Sound Design). Although I occasionally struggled to hear every word of the voice-over (The Front, Kieran J Evans), I loved the musical choices and the way in which the sound and lighting design worked so well with the performances.

As Director/Producer Lachlan Driscoll notes, ‘each character has their bonkers idea of what’s going on outside and how to cope” Carleton observes that ‘we do nothing on a grander and grander scale. And what, the play asks us, is there to be done? Who should do it?’ In such a situation, an absurdist, black farce is absolutely the way in which to encourage audiences to face up to current reality—and to start to talk about the ‘elephant in the room’ (now, for me, forever turquoise!). There are some lovely inside jokes in this work, including the reference to a playwright with ‘nothing original to say.’ Stephen Carleton's The Turquoise Elephant may be telling us what we already know, but it forces us to think about the way in which we can all act and make a genuine difference. This is an original piece of writing, beautifully directed by Driscoll. Studio 1 works so well for this show, but it’s an intimate space. Here’s hoping that Observatory Theatre may have the opportunity to bring this show to a slightly larger space—or be able to add more performances into this short run.

Verdict: An excellent start to the 2023 Observatory Theatre Season. If tickets are still available, I strongly recommend the visit to Yeerongpilly.

Catherine Lawrence

**Picture (L to R)**: Aunt Olympia (Amanda McErlean) and Jeff (Robert Wainwright). *Picture Credit: Creative Futures Photography.*

Audience information: The Turquoise Elephant (2-11 June, 2023—including a matinee/relaxed performance on 10 June), Studio 1, Yeerongpilly. 110 minutes (one interval). Occasional coarse language, mature themes, sexual references and occasional strobe/strong lighting (I suggest 15+). Tickets $20-40 plus $2.50 booking fee (general admission). Ticketholders can access a 10% food and drink discount at Slipstream Brewing Company. Free onsite and street parking available.

The reviewer attended the sold out preview performance (7:30pm, Friday 2 June, 2023)

Geoff Lawrence