While perfectly staged and produced, the Division of Theater's first mainstage production Elbows Off The Table might miss the mark with the average audience member.
In storytelling, most audiences are used to the typical format. Characters are introduced. Conflict commences. Shenanigans, whether they are hilarious or serious, ensue. Problems are resolved.
This format cannot be found in the Division of Theater’s first mainstage production of the year, Elbows Off The Table. The play will run through Saturday at the Elizabeth Evans Baker Theater in Kantner Hall.
The play focuses on one woman’s (Mariane Murray) journey through sexuality and societal pressures. Other ensemble members play different aspects of her conscience or a societal pressure.
Elbows Off The Table is a movement theater piece, which means it is nonlinear in its storytelling. It’s abstract in every sense of the word. Meaning is only what a viewer makes of it.
And therein lies the show’s potential problem.
The average audience member might struggle to understand what is happening on stage. It can get confusing. Certain moments are clear, such as how Colin Cardille often acts as the sexual male antagonist and Aunjanna’ Million plays the sinful side of the main character.
Other parts, such as what stage of life the main character is in, aren’t so clear.
Not that linearity is necessary to tell a story, but when a message is supposed to be about coming to terms with sexuality and society, it seems beneficial for an audience to be able to understand the context of certain situations the main actress finds herself in.
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One aspect that is interesting from the plot is how the ensemble is so frantic. It can be hard to understand which role each person is playing, however, it’s a great symbol for how chaotic a young woman’s mind is as she battles with social and sexual pressures. It’s as if a thousand voices are shouting all at once, and the ensemble perfectly invokes this feeling.
While the not-so-attainable plot might bog down most audience members, the other elements of the production will hopefully keep their interest.
The lighting and scenic design play a very big role in this production to help bring the idea full-circle.
Million’s role is obvious because every time she came on stage, a rich, deep red fills the background. The meanings and emotions associated with colors is one of the most interesting aspects of any artistic work, and this production is a great analysis of how artists use them to advance their story.
Plus, the stark contrast of the silhouettes of the actors against the solid color background was so visually interesting that it invoked a sense of thankfulness that the production went for a more minimal set. It was essentially a black box theater with an angled projection screen as the background.
Projected on that screen were sometimes headshots of the actors or a rotating clock. The purpose of the headshots isn’t exactly clear, but the clock is about as literal as one can get with a symbol. The clock appeared twice, rotating faster as the main character’s life tumbled a little more out of control.
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As a movement piece, Elbows Off The Table is as close to modern dance as theater can get. Rebecca VerNooy, assistant professor of theater at Ohio University, wrote and directed the play. VerNooy has a distinct style in her directing. Patrons of previous years’ Metamorphoses and Rashomon will remember. VerNooy is always movement-oriented. The flow of each actor’s movement is just much more noticeable when VerNooy has a hand in the production. Thus, she thrives in Elbows Off The Table. It can be hard to understand plot-wise, but the eye will never be bored. Combined with the solid color backgrounds, the actors’ movements are fluid and appealing. The silhouettes they create are photographable at any moment.
Elbows Off The Table is extremely visually appealing, yet the average audience member might not think that is enough.
Rating: 2.5/5
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