Review: The Elevator at The Ensemble
Review by Scott Whitmont
Eloise Snape’s new dark comedy, The Elevator, asks us to consider the many ways in which corporations increasingly eat away at our humanity. It also delves into our increasing reliance on AI and the inherent dangers associated with its gradual, seeming takeover.
Margot (Leeanna Walsman) is the CEO of 1500 employees at Eco Engines, an advanced technology firm. She’s back at the office just one day post-partum, having spent her time between the epidural and birthing to send urgent work emails! Accompanied by her highly flustered and effervescent Gen Z PR specialist, Alison (Shirong Wu), she is on her way to a press conference on the 48th floor when the voice-activated, AI-operated elevator grinds to a shuddering halt.
To add to the mix, with them in the lift is the straight-talking maintenance worker, Ollie (Di Adams) who is unimpressed by those with money or societal standing. She rolls her eyes cynically as Margot and Alison discuss the company’s growing PR disaster and strategize media spin over the recent collision of one of Eco’s driverless vehicles into a pedestrian who now lies in hospital, his life in the balance. Public statements must be made.
Thus ensues 90 minutes of forced, enclosed interaction in which the three women delve into issues of personal, corporate and environmental responsibility as well as examining moral, legal and ethical concerns, racism, motherhood and feminism. Sounds like a lot? It is. In fact, it would be argued by many that Snape has tried to synthesise far too many themes for a one-act play to handle competently. Nonetheless, our trio of performers negotiate the potentially fraught subject territory with aplomb.
Margot is not just ‘stuck’ in a lift. She is stuck as a woman leader, pushing through the glass ceiling to show that she’s every bit as competent as any male corporate counterpart, while simultaneously demonstrating that she is a responsible mother and family member. Trying (not very successfully) to keep it all together in the crisis whilst lactating through her silk blouse, it soon becomes clear that Margot is not as tough as she would like to be seen. Walsman is commanding. She expertly reveals both sides of Margot’s struggling persona – the irrepressible CEO and the struggling new Mum who has too much to prove, no matter her high level of competence.
Likewise, the ever-awkward Alison is not coping at all. Only promoted to her new role after heavy company redundancies, she lacks confidence and is forever apologising to her somewhat tyrannical boss. To make it all worse, when stressed, she has a natural nervous reaction of inappropriately bursting into laughter. Shirong Wu is perfect in her role and gives us welcome comic relief through the drama. In her hands, Alison is refreshingly endearing and we are always on her side.
In a strong performance, Di Adams’ Ollie is almost her polar opposite. Impatient and ever confident, we start to question if she has a secret agenda in being there. What hidden revelations are to be discovered? She and Margot increasingly clash. When Ollie offers her opinion at one stage, Margot shockingly dismisses her by proclaiming “You’re not a person of consequence”.
Giving further comic input and voiced by Johnny Nasser, the fourth player in the production is The Elevator itself! Is it what we might expect from AI controlled machinery in the future? It will only respond to voice commands that end in “please” or “thank you” and before long, it only answers questions posed in Italian. An added amusing touch is that every announcement it makes is followed by a maxim or adage such as “Your potential is exponential” or “Wear your failure like a badge of honour”. Daniel Herten’s Sound Design and Kelsey Lee’s futuristic Set & Lighting Design enhance the often-apprehensive mood and provide the perfect controlled stage environment.
Anthea Williams’ tight direction ensures that the dialogue remains snappy and the confined space of the elevator setting works effectively, never feeling claustrophobic.
With an air of mystery and several plot twists, The Elevator is clever, entertaining theatre and damn-good fodder for cerebral reflection. Don’t miss it.
