There's a pearl of a play embedded somewhere in Dead Elephants, and with further workshopping, I'd be thrilled to see it again. But at its present length, I'm left craving a less arduous journey to the payoff of the play's final breaths.
The wide-reaching scale of Genevieve Adam’s vision is apparent within minutes of the lights going down, even in Tyler J. Seguin’s scrappy, imperfect staging.
In a world where disabled people are up against the erroneous cultural myth that it’s possible to “overcome” your disability if you work hard enough, it’s lovely to see the idea of interdependence centred throughout this piece.