Elephant Shavings by Ron Sossi

L - R Giovanna Quinto, Jack Geren, and Diana Cignoni - Photos by Kayte Deioma

 

By Joe Straw

 

Lizzie (Diana Cignoni) enters a makeshift greenroom, with a couch, and a kitchen area, and beyond that is a bed.  It is a room away from the partying crowd for the actors to step off stage and take a breather before walking back into those maddening patrons. Lizzie, in a black Dianne Keaton attire, looks to be exhausted because it is the end of the run and thus closing night.

 

Jill (Giovanna Quinto) the stage manager takes leave of the party outside and joins Lizzie asking if she can get her anything. Jill steps back outside and the other solipsistic luminaries - cast members - Sam (Jeff LeBeau) and Erin (Cameron Meyer) and the omnipotent director Peter (Jack Geren) step into the space and, in a celebratory manner, carry on in a discussion about God, Jerzy Grotowski, an experimental theatre teacher, authenticity, and acting.

 

Lizzie remains quiet, observing the director pontificating, and the others discussing, in a polite way, the ins and outs of acting, God, and their instruments. But Lizzie has more on her mind, personal in nature, a miscarriage 4 month ago and two months later wanting another baby.

 

Possibly inconsequential, but there is something missing in this first scene whether it is extensional, experimental, or existential whatever this may be called, something is not quite right.

 

The Odyssey Theatre Ensemble presents the world premiere of Elephant Shavings written and directed by Ron Sossi extended through October 8, 2023.

 

Ron Sossi has a slow gait these days moving among the patrons and the rooms in black, a ghost like figure hovering The Odyssey Theatre like he has done thousands of nights before. He is, dare one say it, a Los Angeles institution, a man filled with so many stories over so many years, he is a walking encyclopedia of theatre knowledge and human-interest stories. And he has decided to turn over some of those stories through the presentation of a play of his own creation.  

 

In this play, there is a story of someone asking an artist how a beautiful one-piece wood sculptured elephant was created.  And the artists answered, “I just cut away what is not elephant.” Possibly a fitting description of the play although there may be shavings still left in this two-act play.  

 

One may regard Elephant Shavings as something of an experimental experience wrapped in modern day characters. They don’t wear funny black skintight suits and dance about the room. And they don’t go beyond the natural presence on stage. They’re normal like people going through life in another theatrical experience.

 

But some characters don’t, and then the play turns into a decidedly different structure that will have some audience members on the edge of their seats and then questioning after it’s all over, what in the heck just happened? And that just may be the point.

 

  

There is some fine work in Ron Sossi’s play, a soulful satisfying search from within, especially in the second act where things just start coming together with the exploration of Lizzie’s character finding another spiritual level and running with it. That said, the opening scene needs work. Lizzie comes in exhausted when she has a lot on her mind.  She basically has nowhere to go after the production with the theatre becoming dark for the summer months. But she doesn’t reach out, she doesn’t take the information or is guided by any human force (via the dialogue) about how she is going to survive. Happenstance doesn’t have conflict, inner turmoil does, and we need to see her thinking about how she is going to survive.  

 

Denise Blasor and Diana Cignoni

 

 

Denise Blasor plays Pearl, a friend of the theatre, always around to help whenever she can. Blasor brings a lot of life to the show, she is funny, frightening, and is charming in various ways.

 

Diana Cignoni is Lizzie, an actor, who may not have a clue in the direction she wants to take.  She needs guidance and seeks guidance in the forces surrounding her but that means a deep spiritual connection, a cleansing of sorts, away from her arduous melancholy, and a movement that takes her beyond her physical self and into an enigmatical tranquility.  The ending is fascinating. To search would be an appropriate action for this character who seems to be doing this the entire play. All the steps she takes should clue her to eye opening moments that leads her to a satisfying conclusion. Cignoni is mesmerizing with her direct connection to the audience and there must be that moment where she ultimately understands where she is going.

 

Jack Geren is Peter, the director. One understands the situation in which he appears but never got a sense of character and the conflict. One gets the relationships but not the backstory prior to the cast entering the room. Was the play successful on this night? Is there someone he really needs to speak to - to get the performance he wants? Even though we’re at the end of the run, is there more work to be done for the sake of the future of this company?  Is there a special relationship between the director and the stage manager? Can there be?  Who is holding the notes? One never gets the sense of authority the director has with this cast and ultimately how that moves the lead off into her direction. (An interesting note: Geren looks twenty years younger than his photo in the program.) That said Geren is very likeable in the role. But the choices for this character seem unlimited.  

 

Jeff LeBeau and Cameron Myer

 

 

Jeff LeBeau is Sam an actor that engages in a polite argument with his counterpart and it’s mostly about the craft.  LeBeau has a strong presence and is very engaging onstage.  His voice is strong, and his actions are fluid. But here is another character that doesn’t make a mistake and the conflict within doesn’t materialize for the purpose of the whole play. But his time is limited, and we must know how his actions work within the context of the play.

 

Cameron Meyer is Erin. Erin is an interesting character, set in her ways, somewhat stodgy, believes in what she believes and that is settled. One wonder how that works for actors who are not open to other alternatives. The discussions in the opening scene move the main character to figure out her life but one couldn’t figure out when or how that happened.

 

Giovanna Quinto is exceptional as Jill, the stage manager and seems to be open to seeing beyond the beyond. Jill is very superstitious and offers her friend warnings about what she may encounter, things in the theatre world that jump out unexpectedly. That said, there is more that Quinto can do to elevate those moments, how far she can go highlights what is to be expected of living alone in a theatre so that when Jill comes back, after the summer, she understands a power she possesses and is moved to what has just happened.  

 

Jan Munroe’s set is a little awkward but manages to work in this setting.

 

Other members of the crew are as follows:

 

Denise Blasor and Juliette Blasor – Costume Designers

Jackson Funke – Lighting Designer

Christopher Moscatiello – Sound Designer

Fritz Davis – Video Designer

Katie Chabot – Stage Manager

Andrew Blahak – Rehearsal Stage Manager

Severine Laure – Assistant to the Director

 

There are a lot of fantastic moments in this production. I’m sure I didn’t get everything but I’m glad I went.

 

Tickets and Reservations: https://odysseytheatre.com/

 

And parking is free!