One good reason to appreciate Indian Ink is that they are an established theatre company that take genuine risks in their work while cohesively maintaining a focus towards the longevity of their art. This is by no means a simple or easy achievement. To refrain from resting on artistic laurels requires exploration into new and sometimes unsuccessful territory, which can contradict long-term objectives if those objectives are not both clear and open to interpretation. True success necessitates failure. In art, it’s called development, and as writer Jacob Rajan and writer/director Justin Lewis mark in their programme notes, it doesn’t get easier.

In The Elephant Thief, their seventh production since the company’s beginning 19 years ago, the reduction of one of Indian Ink’s fundamental components, masks, is the most obvious development. Set and costume designers Stephen Bain and Sarah-Jane Blake have provided an excellent counterbalance to this, with incredibly detailed costumes that not only inform the characters, but also allow the actors to embody them to their comedic extremes. [More] 

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Its 2066 and we’re in India. But it’s far from a world of super robots and flying cars. In fact things seem to have gone a tad pear shaped. For starters snap-chat is still being used and while security measures in the jails haven’t improved much disaster has struck in all manner of natural catastrophes. The ‘old world’ is reduced to a map and now Paris is submerged, European refugees are spilling into Asia and India’s prime minster is obsessed with space programmes.

Into this space (and there are plenty of cheesy jokes and cheap puns throughout the night) wanders young Leela Devi (Vanessa Kumar). Desperate to see the world she leaves behind her father and beloved elephant and, armed with nothing more than his fifty year old map, she prepares to take on the world. 

However it’s one that is beset with corruption, lies, deceit and multiple realities. Leela must encounter all sorts of characters from a dowry-hungry policewoman (Nisha Madhan) and her knife-wielding son (Patrick Carroll) to a pair of faux red cross workers (Carroll and Jonathan Price), a nostalgic Rani of Bourbon (Madhan) who mourns her ancestral ties to France; a Russian-Indian detective (Julia Croft) who has more agendas than she initially reveals; a Prime Minister (Madhan) whose passions make demands that are quite literally out of this world and her Italian bodyguard (Carroll) who has a penchant for violent executions or at the very least, inflicting pain.

But while innocent, the young girl from the hills is named a thief, fugitive, murdereress and in this rather turbulent world on the verge of extinction, everyone seems to want her elephant!  

The cast are all immensely talented and Kumar in particular holds our attention through a rather long and meandering journey that is occasionally entertaining but often, simply frustratingly awkward. Nisha Madhan plays her multiple characters with deftness and during a night heavily laden with parody and pastiche there is a genuinely beautiful moment of truth that is not only well received but brings down the fourth wall in ways that much of the audience participation does not.

Beautifully puppeteered by Jonathan Price, the elephant is one of the highlights of the show. It is in those few moments between Kumar and Balthazar (yes, the elephant is named after one of the Three Wise Men) that some of the most exquisite visual and musical exchanges are seen.

Julia Croft is also compelling in her role as the Russian Inspector as are Patrick Carroll and Price, both of whom play various characters with different accents and gesticulations. While entertaining, these caricatures blur the boundaries between a pantomime and a travelling minstrel quintet. However with the pace in the first half plodding along at best, and in the second, catapulting the audience from one action to the next, there is little time to contemplate, mourn or even revel in these changes.

There are clichés and tropes liberally bespattered in this dystopic world and it’s held well through the live score (David Ward) principally executed by musician Adam Ogle with all the cast contributing. Stephen Bain’s tarnished ‘steel’-cladding sheets create a textured layer that works well for Jane Hakaraia’s lighting design and overall this particular microcosm has charm.

But the play just doesn’t gel. The multiple narratives and the quasi-realities that intersect simply aren’t connected. Not just because of numerous plots and sub-plots but also because each story tends to get caught up in itself. At its heart it’s a simple story of coming-of-age for young Leela who leaves home to find out who she is and inevitably, must return to where she started.

This is a work that has so much potential but while the entire point of the narrative may be the nilhism and lack of consequences in this universe, it still feels – as does its lead character for much of the show – lost and confused.

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Long term collaborators Justin Lewis and Jacob Rajan present their seventh play The Elephant Thief: a view into the struggles of human direction, creation and destruction in an imagined, but not altogether improbable, world of ‘tomorrow’.

It is the first time Rajan does not anchor the cast, and also the company’s first foray into the future, and comes up with a mixture of successful and not so successful.

The characters of The Elephant Thief face a world struggling to find a place for them. The forces of destruction and creation, dispossession, change and upheaval figure everywhere in their lives.

Leena Devi is a woman on a mission: she has fled her small town to ‘see the world!’. Unfortunately for her, this ‘world’ is a 100 year-old map (from 2016), and no longer represents the current state of the earth and the extent to which the human race has distorted or destroyed this very world she wants to explore.

The plot is topsy-turvy, tossing Leena from strange circumstance to stranger. Unfortunately not all the directions of the plot feel cohesive, or as effective as I think the company intended. The sense of loss of the past, represented by destruction and literal death, doesn’t hit the real emotional note it could have. This may be something that will develop as the work develops or tours further.

Leena’s father appears in a dream using some inventive ideas, but these moments somehow lack the emotional heart to pack a real punch.  The idea of new ‘creation’ and exactly how this will happen (human-led or organically) raises potent ethical questions for the human race, and the play cleverly leaves it open as to how we might answer. We are being asked these very questions every day in our current times.

Despite a twisted plot, the larger than life characters of the play are exactly what we have come to expect from Indian Ink’s work, and the plot throws up a few excellent encounters, Rani de Bourbon, and the Jailer and Prakash in particular. The precision in physicality is as skilful as ever, as is the strength of the comedy among serious themes.

There is an ease to the way these performers work a ‘mask’ and make Commedia/buffoon performance look simple. Nisha Madhan is particularly charming: the best I have seen her yet. Julia Croft does great work to make a difficult character extremely likeable, and Vanessa Kumar a mixes the ‘straight’ and comedic where necessary as the story’s central character.

Rajan is missed, but mostly because he is such a joy to watch, as the cast are all excellent. They are also adept at getting the audience on side, because, as they remind us, we ‘don’t want to get involved’… which in fact, cleverly loosens us up to the idea. There are some great moments of involvement and imagery; one reminds me of something out of Lepage’s Far Side of The Moon with a cheeky twist. 

The set design by Stephen Bain and Sarah-Jane Blake is a striking and impressive metaphorical statement. It is a work of art with transformative power, using a blank canvas of shipping container walls, suspended, staggered and dropped over an urban graffitti floor. The set gives great scope to lighting effects, transformation of space, shadows, exits/ entrances and concealment of action for comedic effect. It also allows for destruction and distortion, and parallels the goddess Kali: the pervasive figure throughout the play; creator and destroyer of worlds.

The costumes are patchwork, eccentric and bright, keeping cleverly away from mainstream ideas of a ‘futuristic’ look.  Music and song features a little less than some previous works, but the live soundscape works well.

The show uses lots of popular contemporary theatre devices, some of which are really on point – the use of phone-light and torches, the capsule journey, and the utterly incredible life-size elephant puppet. However, a few feel a little thrown in for tricks without enough working, the shadow play in particular. The set changes also need a little ironing out.

As a view into the future I don’t feel it quite hits the mark the work is aiming for. It raises important questions and is an entertaining piece of work, however, and is worth seeing for the strength of performance, imagery, theatrical devices and comedic value. I hope the power of the work develops as the piece grows.

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After 20 years, Jacob Rajan and Justin Lewis’s theatre company Indian Ink are still bringing their unique brand of theatre to the stage.  

And while their latest production, The Elephant Thief, currently playing at the Hannah Playhouse, may not have Rajan himself performing, or some of his well-known puppetry present, and although the piece is much more narrative-driven, canvassing large global issues, it still has many of the hallmarks of an Indian Ink production. [More]

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When we leave home to ‘see the world’, the world we’ve left behind has a habit of catching up with us, not least because the world is one whole organism and we ignore any part of it at our peril. The part we try to deny becomes the proverbial ‘elephant in the room’. Likewise the parts we have never acknowledged or valued, not to mention those parts we exploit for short-term commercial profit without considering the long-term consequences, are ever-present.

That’s one way, anyway, of considering the elephant metaphor in Indian Ink’s latest production, The Elephant Thief. The magnificent elephant head mask-cum-puppet with its articulated trunk (created by Stephen Bain) is a powerful if enigmatic presence in performance.

More subtle is the whispering voice of Kālī (the Hindu goddess who, Wikipedia tells us, represents Time, Change, Power, Creation, Preservation and Destruction). From what I manage to pick up* she too is a compelling presence, asking, “Do you have the courage to give yourself to me to be free?” Is this as oxymoronic as it sounds or the paradox that leads to spiritual enlightenment?

At a physical level we are following the fortunes of Leela Devi (Vanessa Kumar), a female mahout (which is unusual) whose father is a renowned mahout back in Kochila. She is a street-smart survivor out to see the world – despite the global destruction already wrought by climate change and rising sea levels.  

When their elephant, Balthazar (Jonathan Price), follows her for some strange reason (we do discover why but I won’t reveal it here) … Well, some cash to fund her travels would make life a whole lot easier. She is as susceptible to the socio-political economics of self-interest as anyone. But I’m getting ahead of myself here.

Leela’s quest for freedom has been impeded by a smartphone wielding Jailer (Nisha Madhan) whose spoilt son, Prakash (Patrick Carroll), is a worry with his knife and apple antics. Leela’s escape to the jungle where aid workers seem to have hunkered down seems like a good idea until … Suffice to say there is more to Aussie bloke Frank (Jonathan Price) and Irishman Peter (Carroll) than meets Leela’s innocent and trusting eye. They bring a new perspective to organic farming.

It takes a while to discover why half-Russian Detective Inspector, Irina Sharma (Julia Croft), is taking such an interest in Leela and Balthazar; meanwhile “Target confirmed” piques our interest. Are Leela and Balthazar safe in the “petite maison” (about the size of Kochila) of self-styled exiled Queen of France, Rani de Bourbon (Madhan)? Again, that’s not for me to say here.  

Leela’s world is certainly expanding beyond its modest beginnings, not least when the prime minister of India herself, Sonia Ambhardi (Madhan), commands Leela’s presence. With Italian manservant Benito (Carroll) to do her dirty work, Sonia can afford to seem wise, insightful, compassionate … It is here that Irina’s role in the scheme of things becomes apparent, thanks to her familial affinity with space missions. But how far do Leela and Balthazar have to travel to discover where truth lies and what is truly of value?

As the playwrights, devising and developing much on the floor with the actors and other creatives before distilling it in script form, Jacob Rajan and Justin Lewis are confronting questions about the future at such a level that credible resolution at the macro level is impossible. We must be content with dramatic resolution at a micro level – if ‘micro’ can be used when referring to elephants. Of course when we see the elephant as a metaphor, the denouement does offer a global-level resolution devoutly to be wished.

That’s enough hinting at the plot and thematic content: you must see The Elephant Thief to fully appreciate all it has to offer. Meanwhile accolades are due all round.

Rajan and Lewis, as director, must be commended for casting this work impeccably and for exploiting false teeth as the principle ‘character mask’ device. While buck teeth are prevalent, it is astonishing how much difference a small change in dental configuration can make.

Vanessa Kumar (a recent graduate of Toi Whakaari and the only cast member not to have studied either at L’Ecole Philippe Gaullier or the John Bolton school) manifests the classically comedic Arlecchino-like innocent abroad in Leela, drawing us into her reality with a compelling confidence.  

Nisha Madhan creates astonishingly different yet always true and comically astute characters as the Jailer, Rani and Sonia. Her vocal prowess is formidable. Likewise Patrick Carroll brings wondrous versatility to Prakash, Peter and Benito – and recycles his primordial Layman clayman for a baby elephantine dream sequence.

Julia Croft, as eloquent in stillness as she is in action, is as compelling as ever as Irina. Jonathan Price has fun as the dubious Aussie while manifesting majestic charisma as Balthazar.

Musician Adam Ogle, working with David Ward’s compositions, completes the highly-skilled cast – and everyone contributes to the music-making at times, as well as the many essential off-stage tasks that contribute to the play’s sonic and visual excellence.

We get an early indication of things being more – or other – than they seem when apparently solid slabs of steel (think shipping container cladding) suddenly screen back-projected shadow play. Stephen Bain and Sarah-Jane Blake, who share the set and costume design credits, contribute immeasurably to the visual dynamics – along with lighting designer Jane Hakaraia.

While it would be fair to say some elements may not ‘earn their keep’, in that the story would still stand up without them, I would not want to have missed any of it. Maybe more can be done, as this three-city season progresses, to achieve greater thematic coherence or to share what’s already there more effectively with the audience. But as it stands there is plenty to ponder in its wake.

As physical and metaphysical theatre, The Elephant Thief is deeply engaging in performance: a joy to witness and think about. Indian Ink’s aim “to make theatre that is beautiful, funny, sad and true” is most certainly fulfilled.  
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*Maybe the speakers in the Hannah Playhouse are not best placed for the front row audience. 

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Indian Ink is committed to theatre which combines comedy and drama to spin a fantastical web of magic and intrigue. The Elephant Thief propels its audience into a futuristic world where environment and politics have been sold out to the most corrupt in equal measure. In this narrative-driven plot these issues spin the audience into a frenzy, bombarding them with ideas, demanding they make choices and forcing them to confront the legacy they will leave future generations.

The comedy is a key feature of the group and in the very recognisable style relieves the seriousness of these issues and heightens the hideousness of them at the same time. Once again Indian Ink leave its audience with plenty to think about.

A stellar cast of the usual suspects, Nisha Madan, who controls four roles with gymnastic ability moving effortlessly from nasty local policeman to corrupt Prime Minister of India, and Julia Croft as the efficient and ruthless Commander of the space mission, give us characters we become totally interested in. Despite their grotesqueness we believe in them completely. Their ability to connect with their audience is a powerful skill.

Multiple roles are adroitly handled by Patrick Carroll as the unspeakably creepy knife wielding son of the policeman, the heinous organ hunter and the PM’s vicious sidekick.  

Newcomer Vanessa Kumar as Leela Devi, the naïve tribal girl and unwilling mahout, is a standout. We weep and clap and felt sorry for her. We will her to do the right thing, make the right choices, find herself.

None of this bizarre and often heart-breaking scenario would play out quite so effectively if it wasn’t for the wizardry of the technical team. A totally convincing elephant becomes a character in his own right under the masterful manipulation of Jonathan Price; the simplicity of the stage set uses roofing plastic to become at any one time a jail, a village, a wealthy palace, a science laboratory. These and clever lighting all play their part in delivering an astonishing complex story.

The music and the instruments composed by David Ward and performed by all the actors add a gritty realism to Leela’s arduous journey through India. But this is not just India. This is an India which stands for any country in the world where the environment and community life is threatened, where animals are at risk and people are faced with overwhelming challenges.

At the risk of letting the side down I feel, as I have with the last two productions, that with such a narrative-heavy plot and an eagerness to explore so many issues the writers have perhaps tested the loyalty of their audiences. Two hours of intense drama is a lot to ask of an audience more used to sound bites. It is lucky for them that their marvellous cast pull it off, sustaining their characters and driving the story to a final moving conclusion. 

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Only a complete fool would fail to realise the world is rapidly becoming a pretty horrible place.  

Catastrophic climate change, random massacres, terrorism, ceaseless war, primitive belief systems, thousands of species forced to the brink of extinction: Dolphins, rhinos, gorillas, tigers, elephants…

Yes, even elephants. 

Hilarious, yet unsettling and thought-provoking, Jacob Rajan and Justin Lewis’ The Elephant Thief looks at the prospect of a world without elephants through the misadventures of mahout (elephant handler) Leela Devi, as she encounters corrupt officials, black market organ thieves, refugees and fanatical, fascistic rulers in a story that ranges from bleak tragedy to science fiction comedy. [More] 

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#SeriousLaughter is their Twitter moniker and sure enough Indian Ink’s latest joyful production with soulful intent has themes of mythology, ecology, global economy, politics, religion – and the new religion, science – all layered with internationalism, bubbling away under the surface of some fabulous comedy.

In The Elephant Thief, authors Justin Lewis and Jacob Rajan still keep to their own traditions of masking and puppetry, although these are somewhat pared down for this show, with one vast puppet (the title is a clue) and a superb array of false teeth for the main characters, from subtle pearlers to face picket fences that are challenging to watch and no doubt to wear. Unlike most of their previous plays, with simpler narrative lines, this one shoots off several trajectories like little sky rockets until they meet in the play’s second half.

Set in an India of the future, with a well-established space programme, the play centres on the adventures of Leela (Vanessa Kumar), the only survivor of a mudslide which ravaged her village. She comes down from the hills to a town in search of Balthazar, the elephant her father had trained her to handle, who is the last elephant in India. Unworldly, honest and awkward, Leela encounters crooks, charlatans and officials, all of whom are nasty and cynical; who want to exploit her and Balthazar as symbols, as subjects of experiments, even for their organs. 

The parade, even avalanche, of people out to use them is played out in fast funny sequences with quick changes of accent, head gear and costume by Jonathan Price, Patrick Carroll and Nisha Madhan. There’s the pair of hunters, the scientists, the jailer and her psychopath son, the priest of Kali and the supplicant, a lost father and son; but no-one it seems, wants to help her to restore the simple world she has lost. Even Irina, the half Russian half Indian defective detective who appears to befriend her, has plans for Leela and Balthazar to serve Sonia Ambhardi the Prime Minster (another brilliant cameo from Nisha Madhan) and make history for India.

The set design with a vast collaged floor mat and rows of hanging plastic roofing panels is fully deployed by the production and creates screens for shadow films, a reflective backdrop for the clever lighting effects and contrasting moments of darkness. Jane Hakaraia, Sarah Jane Blake and Stephen Bain have created a unity of impact with these elements, no more brilliantly revealed than in the final scenes of the play which take on an out-of-earthly reality.

The music and sound design of this performance (David Ward) are also beguiling and deceptively simple, relying heavily on timing and quick turns about with electronic keyboards, sitar and a spectacular array of percussion instruments. But the most important instrument of all is the euphonium which gives tunes to the many parades and breath to the elephant.

As with previous Indian Ink productions, the musicians’ section is visible and to one side of the main performance area, and here all the actors participate in making the many sounds and effects that form the comedy and the action, from the electronic swipe of the jail lock, to the sounds of guns, slaps and the beeps of transparent communication gizmos.

Some of the jokes and puns are so corny they are ‘groan out loud’ – as when night falls (sudden darkness and the sound of a crash) and some of the humour is bleak, such as when a mysterious man (the outstanding Patrick Carroll) enters appearing to be creating a mask out of clay and we realise it is a reference to Leela’s father’s death by mudslide. There are also moments of great beauty as when Leela sings and leads Balthazar, so carefully given life by Julia Croft and Jonathan Price and the final caravanserai, when Julia Croft picks up the call and they sing all the way to the end.

This wonderful combination of people has once again brought an entrancing piece to the stage. I hope it tours and I hope it comes back to Hamilton after the honour of hosting this world premier season, as there is so much to savour that I want to see it again. 

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