At the conclusion of Kristof Bilsen’s Elephant’s Dream , one is reminded of the famous comment of the Irish literary critic Vivian Mercier about Samuel Beckett’s Waiting for Godot: a work, he said, that “has achieved a theoretical impossibility—a play in which nothing happens, that yet keeps audiences glued to their seats.” The glue in this case is provided by the poignant and at times haunting portrayals of three floor-level civil servants working in the Democratic Republic of the Congo (DRC): Henriette, a post office counter clerk in the country’s capital, Kinshasa; Lieutenant Kasunga, a chief fire officer in Kinshasa; and Simon, a train station officer at Kisantu in Kongo Central Province.