Review: ELEPHANT'S GRAVEYARD at University Of The Ozarks - Walton Fine Arts Center in Clarksville

The University of the Ozarks in Clarksville has taken on one of the most chilling pieces in the contemporary American canon with George Brant’s Elephant’s Graveyard, and the result is a gripping, emotionally potent production that lingers long after the final blackout. With one more weekend left, November 20–22, this ensemble-driven drama, directed by Dr. Macy Jones, transforms the Seay Theatre stage in the Walton Fine Arts Center into a world where spectacle collides with violence, community, and consequence.  

Set in 1916, the story follows a traveling circus that arrives in a small Tennessee town hungry for excitement. When a tragic accident involving the circus elephant Mary occurs, tensions escalate between the performers and the townspeople. As blame and fear spread, the town’s desire for justice quickly morphs into a demand for vengeance. What unfolds is a harrowing examination of mob mentality, cruelty, and the devastating consequences of collective complicity.  From the moment the Ringmaster beckons the audience into the circus tent, you can feel the weight of the story gathering in the rafters. This show is intense! 

Brant’s play examines the true 1916 execution of the circus elephant Mary, weaving together the voices of circus performers and small-town Tennesseans to explore how an entire community becomes complicit in an unimaginable act. The University of the Ozarks cast leans fully into this narrative structure, giving each character a distinct perspective that overlaps, contradicts, and ultimately converges in tragedy. The storytelling is relentless and honest, making the audience both witness and participant in a slow march toward violence. Many audience members were in tears, and honestly, I was in shock. It was so moving that I could hear a man across the theatre sobbing so loudly. It was that traumatic.  

This ensemble deserves enormous praise. Kaden Thomas, as the Ringmaster, commands the stage with a showman’s confidence, masking desperation with bravado. His booming announcements and false cheer set the tone for the circus’s chaotic arrival.  

My starry-heart eyes go to Lila Bass, as the Trainer. She delivers one of the most nuanced performances of the night. Her spirit emanated the wounded, loyal, and heartbreakingly gentle connection she had with Mary. Her quiet moments are devastating. I almost audibly cried out several times for her to not participate in the cruelty, even though she was the only one who could humanely do it.  

RyleeAnn Hill, the Ballet Girl, balances innocence and longing, offering a tender glimpse into the circus’s worn-down dreamers. Cierra Turnquest gives the Tour Manager a sharp, polished edge, the sort of performer who knows the value of a spectacle and the cost of survival. William Cartwright brings booming physicality and charm as the Strongman, while Ragan Sisson’s Clown is unsettling, funny, and tragically aware of the darkness simmering beneath the paint. 

On the town side, the performances are equally compelling. When they all start quietly chanting this like ‘kill it,’ the rhythm almost hypnotizes you into the madness. Then there was also the knowing agony when the colored women didn’t even say anything and walked away almost shamefully when they heard the elephant was going to be hanged. I felt the sadness in my soul!  

Anthony Nuno delivers a gripping performance as the Preacher, capturing the town’s moral contradictions, and Kayli Gentry, as the Railroad Engineer, steps confidently into a narrator-like role that helps deliver the final blow of the tragedy. 

Directorially, the production is atmospheric and deeply effective. The staging allows the actors’ voices (literally and figuratively) to drive the story. Strategic lighting and sound reinforce the sense of impending doom, while the ensemble’s physicality keeps the world alive even in stillness. The pacing is tight, the tone is unflinching, and the students’ dedication to the material is evident in every beat. 

Elephant’s Graveyard is a bold choice for a university theatre program, and the University of the Ozarks meets the challenge with courage and craftsmanship. This is not casual entertainment; it’s a reflection on our appetite for spectacle and the ease with which communities slide into brutality when swept up in collective emotion. Don’t miss this haunting, beautifully executed piece of ensemble theatre. Bravo to the entire company. 

To check out what all The University of the Ozarks Theatre Program has to offer, visit their website at ozarks.edu/academics/university-theatre.  

CAST

The Circus

Ringmaster: Kaden Thomas

Trainer: Lila Bass

Ballet Girl: RyleeAnn Hill

Tour Manager: Cierra Turnquest

Strongman: William Cartwright

Clown: Ragan Sisson

The Town

Hungry Townsperson: Catasia Ferguson

Marshal: Madilynne Wasson

Muddy Townsperson: Lily Carpenter

Preacher: Anthony Nuno

Steam Shovel Operator: Jose Salgado Jr

Young Townsperson: Vaughnique Francis

Guitarist: Fernanda Martinez

The Railroad

Engineer: Kayli Gentry

PRODUCTION TEAM

Director: Dr. Macy Jones

Scenic and Lighting Design & Technical Director: Lucas Hoiland

Stage Manager: Emma Cariker

Asst. Stage Manager: Tranique Francis

Costume Design: Jena Harris

Assistant Costume Design, Sound Design: Tessa Orender

Original Music: Eduardo Guzman

Marketing, Poster Design, Box Office: Ecanique Oralhomme

Makeup and Hair Design: Hannah Laing

Dramaturg: Duffy Porter

Properties: Alivia Booty

Light Board Operator: Steven Berna

Sound Board Operator: Jonathan Wilson

Spotlight Operators: Duffy Porter, Jairdan Wesley

Lighting Crew: Steven Berna, Emma Cariker