Tusk Tusk

Empty boxes, scattered shoes, and a bare London home containing three lonely children. Polly Stenham’s Tusk Tusk is a story that throws viewers into a multi-faceted mishmash of laughter, hysteria and downright madness. Set over the course of a week, a trio of siblings are suddenly perplexed by the disappearance of their mentally unstable mother.

As desperation for food and control sets in, a terrifying dance between the two eldest begins to wind itself around audience members. Despite the level of emotional intensity and vivacity laced throughout this play, Patalog Theatre’s exemplary portrayal of its characters brought it to perfected reality. 

Introduced with an opening – and literal – scream, Maggie (Markella Kavenagh) is the stereotypical matriarch of the household. Riddled with insomnia, she tries desperately to control her hormone-driven brother, Elliot (Ben Walter) after the desertion of their mother.

However, Elliot is off with the fairies, preferring instead to pretend that all is well in the household, insisting that they wait it out, so as not to “give up on her.” Trapped in between the two war-waging teenagers is toddler Finn (Liam Smith) who just didn’t want to be alone anymore in their new and empty home.

While the first of the two-part play was amusing with its humour and scenic setting, it’s really the second section where the actors flourish in their roles. Providing us with scenes mostly based on minor incidents such as playing with Finn, Elliot bringing a girl home, and a small mouse scuttling around the corners, the initial segments throw around jokes and snarky comments between the two older siblings, but only imply the overall uneasiness that they are both concealing.

In the second half, however, we are thrown into a ragged environment. Centred on Elliot’s birthday, the eldest is driven to the brink as his worst fears are confirmed: their mother has missed his birthday celebrations. Concerned with his mental instability, and the overall health of her family, Maggie pleads for him to ask someone for help, only to be turned away again and again. 

Elliot and Maggie’s relationship is an odd highlight throughout the performance. Illustriously portrayed by the two wonderful actors, their relationship teeters on a thin line between caring and destructive as the plot progresses. 

Elliot’s persona is especially domineering towards his family, often dictating and even looming over Maggie when she decides to argue against him. His body language and tone build to overwhelming levels, and hints at some form of an Oedipus complex or even incestuous obsession towards his family. At its climax, he emanates an incredible wave of insanity as Maggie begins to question him on his actions, going as far as to straddle her before spitting in her face. It’s an immensely confronting and terse moment, one that I couldn’t believe was being performed by such young actors. 

Ultimately, Tusk Tusk is an impeccably written show that has only been lifted by its talented range of actors here in Melbourne. If you’re seeking scenes so tense that you begin to hold your breath in anticipation and angst, then this is the performance to see. Despite its slow start, the imaginary four walls of this London home are soon opened up into a cornucopia of intense dialogue, heartfelt intimacy and the uncertainty of loss. 

Tusk Tusk 
Irene Mitchell Studio, St Martins Art Centre, 28 St Martins Lane, South Yarra 3141
patalogtheatre.com/tusktusk