The Elephant in the Room unpacks the not-so-vanilla past of ‘Mr Vanilla Andy’ in a story set among the staff of a fishing charter company. When Kim, a fellow staff member, begins to investigate Andy’s secretive exploits in Thailand (at just sixteen!), the past starts to unravel in unexpected ways.

The production benefits from a strong cast, each actor bringing depth and believability to their role. Scott Sumby, as Andy, masterfully navigates the subtleties of his character, proving himself a compelling storyteller. Molly Brealey commands the stage as Kim, whose tenacity and curiosity drive the narrative forward.

Adding well-timed humour, Barb Seymour’s Tina frequently interrupts the action to debate colour choices for the boat’s new squabs — hot pink, perhaps? Something feminine and floral? Robin Ringwood is equally convincing as the injured Mark, rounding out the cast with a grounded performance.

Central to the play’s premise is the ‘elephant in the room’ herself — Kiki, portrayed by Amy Fray. Appearing both onstage and within the audience, Kiki provides a first-person insight into Andy’s past, fully dressed for the part, complete with oversized feet and a trunk. While this metaphor is very clever, it does take a moment to land.

The set is a simple living-room arrangement: two chairs, a coffee table, and Mark’s walker. The staging is intimate, but leads to some static periods within the play, the actors spending a lot of time sitting or standing in a row across the stage. These static moments are punctuated by split-stage exchanges between Kim and the ever-present elephant, alongside Andy’s movement through the space as he reminisces. However, a more dynamic use of the stage could have infused the performance with additional energy and variation.

The performance ends with a risqué burlesque tuk-tuk cabaret, which ventures beyond the expected inuendo. This slightly uncomfortable and very sexual number has all actors on stage acting out Andy’s Thai sex-adventures. To me this addition feels unnecessary and detracts from the from the powerful twist ending of the play.

Congratulations to writer, Breffni O’Rourke, for adapting this true story for the stage. The premise of the play is clever, the characters distinct and believable, and I look forward to seeing more of her work.      

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