‘Elephant’s Graveyard’ From Seat of the Pants is a Visceral Picture of Human Flaws

Let’s talk about the elephant in the room.

Or, in the case of Seat of the Pants’ “Elephant’s Graveyard,” we’ll talk about the elephant that is not in the room, because while the play tells the story of the fate of a circus elephant named Mary, it does so without providing any physical representation of the five-ton mammal. Using skilled storytelling, “Elephant’s Graveyard” breathes life into a harrowing, but important, cautionary tale of violence, spectacle and mob mentality.

Playwright George Brant’s show takes place in 1916 in a small town in Tennessee. The town is riddled with mud and discontented townspeople who are eager for excitement to distract them from the monotony and struggle of their daily lives. Fortunately for them, the Sparks Brothers Circus is scheduled to arrive via train, bringing with them a true showstopper: an elephant named Mary who is rumored to stand even taller than the famous Jumbo. The circus provides more excitement than anyone could have anticipated when an incident during the welcome parade leaves blood in the streets and townspeople calling for Mary’s execution.

This is an ensemble piece through and through. It utilizes a cast of 13 to tell the story of Mary and that tiny Tennessee town via a series of monologues. Nearly every role, from the Young Townsperson (Sarah Farris) to the Clown (Juliette Regnier), is given an equal amount of time in the center ring as each delivers a small snippet of their version of the circus incident.

While made up of many pieces, director Craig Joseph employs engaging staging and a clever use of space to ensure that the monologues fashion together into a single, intriguing narrative. Held in the Gordon Green Event Venue, Seat of the Pants’ production is performed in-the-round. This staging is not only fitting for a circus piece, but it also allows for continuously shifting movement that keeps eyes roving and attention taut.

Audiences sit underneath scenic designer Stacey Costanzo’s makeshift circus tent that features strips of drapery that are intermittently raised and lowered. These seats place you only feet–and sometimes mere inches–away from the players. This, combined with the tendency for actors to make direct eye contact, means that there is no question as to the immersiveness of the piece.

The cast is divided into two groups, the townspeople and the circus folk, both of whom are easily defined by the coloring utilized in Jenniver Sparano’s period-specific costuming.

The circus is led by the Ringmaster (Brian Pedaci) and Tour Manager (Hillary Wheelock). Pedaci is grandiose indeed, with a commanding presence and cold air. Wheelock also radiates dominance and control, but not without a kernel of empathy.

The roles that elicit the most emotional responses are the sympathetic Ballet Girl (Tricia Bestic) and devoted elephant Trainer (David Lenahan), both of whom work closest with Mary. Bestic and Lenahan deliver gut-punching performances.

Emotional for an entirely different, but still devastating, reason is the Hungry Townsperson (Sydney Smith), who examines how the treatment of the elephants is reminiscent of the murders of black boys. Other particularly intriguing members of the town are the weary, downtrodden Preacher (Corin B. Self) and the violent, self-important Marshal (Roland Moore).

These are only a few talented players who make up a talented whole, for the entire cast can be commended for their ability to deliver performances that transport.

In Seat of the Pants’ content advisory, they warn of “vivid descriptions (without visual depictions) of a human death and violence done to an animal.” Although this is an entirely accurate advisory, it doesn’t entirely capture the cast and creatives’ ability to so tangibly bring to life this tragic story.

Aided by Michael Boll’s lighting design and Zach Palumbo’s exquisite composition, music direction and live sound effects, the cast uses Brant’s words to create visceral images. The rail yard, muddy streets, circus animals and big-top are as tangible as the discontent, anger, fear and anguish emoted by the actors. So, while we may not be able to see Mary, we can feel the elephant as if she were truly in the room.

Like so many theatrical productions that center on a circus, this story is not a happy one; it shows a dark, disturbing version of humanity, one that features our capacity for sickening violence in the name of justice. Worse yet is that the play is based on a real-life event.

The common phrase “elephant in the room” refers to “a major problem or controversial issue that is obviously present but avoided as a subject for discussion because it is more comfortable to do so.” Would it be easier to avoid “Elephant’s Graveyard” than experience the disturbing story of violence and abuse it tells? Sure, that would be the more comfortable option. But some art is not meant to be easy–some is created to share uncomfortable, hard truths that leave an impression.

Seat of the Pants’ “Elephant’s Graveyard” will not leave you uplifted, but it will impress upon you an important message that won’t soon leave you. Under these circumstances, it’s worth talking about the elephant in the room.

Seat of the Pants Productions’ “Elephant’s Graveyard” runs through Feb. 22, 2026 at Gordon Green Event Venue at 5400 Detroit Avenue Cleveland, OH 44102. Visit seatofthepants.org for tickets, $23-36.

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