Review: Elephant, Menier Chocolate Factory

Lylah is 8 years old when she meets the first love of her life: her mahogany piano. Swung in through the living room window of her family’s London council flat, it signals the beginning of a life devoted to music. In adulthood, Lylah begins to question the way she is viewed and treated in a white-centric world. She meets Leo, a fellow musician and their connection is undeniable. Soon they fall in love, start a relationship and subsequently move in together. Things shift, however, when Lylah meets his parents, who are very privileged and dish out microaggressions as easily as breathing. 

Singer, songwriter and actor Anoushka Lucas’ semi-biographical Elephant, a cross between gig and musical theatre, delves into love, identity and systemic racism. Lucas’ immense talent is the driving force of her one-woman piece, which has rightfully been picked up by the Menier Chocolate Factory following two successful runs at the Bush Theatre. Lucas’ writing is refreshingly direct. Written in response to George Floyd’s murder in 2020, she focuses on two of Lylah’s life stages, childhood and adulthood (mid-late twenties), making connections between her experiences as a mixed-race Londoner and the ivory keys of her beloved piano to British Empire colonialism. Lucas knows exactly what she wants to say and there is no skirting around it. She manages to translate her feelings both musically and text wise, clearly with an infectious, passionate energy that underpins the show. 

Set design by Georgia Wilmer features an in the round stage, the centre of which is sunken and also rotates. Lyla’s piano sits in the middle, a small bookshelf flush to its back (used as a step to get some height and to climb the piano). The surrounding edges are raised in a flat ring with colourful swirls, patterns and landscapes (designed by Gillian Tan) projected onto it throughout. The space and design nicely allows for Lucas to move freely and ensures visibility from all angles. 

Paper lanterns float above, lighting up when Lylah touches a piano key at the top of the show. They continue to react to Lyla’s emotions and piano playing, creating a sense of the stage living as part of her. Her opening monologue involves a description of the piano and how it makes sound, with the overarching point that we are all connected through the vibrations of the music she creates. It’s a beautiful way to begin and is visually strengthened by the reactive nature of the lanterns. Laura Howard’s lighting choices are fitting and beautifully support the production.

Director Jess Edwards uses yoga, visualization and therapeutic techniques in rehearsals, which is noticeable here. Lucas is at ease, of course comfortable within her own material, but also with the movement throughout. Lylah’s younger self balances on the edges of the stage as she talks of school friends or the piano. As she ages and pursues a record deal, her movement is less playful. Lylah meets with label heads or producers (voiceovers), they turn her down or push for an image or sound that revolves around marketing her blackness and she moves jaggedly. She opens the top of the piano, putting her hands inside, as if attempting to hide within it.

Elephant is a special piece of theatre. With a sharp script and beautiful songs throughout, it is harmoniously balanced in form, featuring stunning direction. It is not to be forgotten and I will probably think of Lylah’s words when I see or touch a piano key for the foreseeable future.

Directed by: Jess Edwards
Set and costume design by: Georgia Wilmot
Video design by: Gillian Tan
Lighting design by: Laura Howard

Elephant runs at the Menier Chocolate Factory until Sunday 22 June.