Elephant Man
The Elephant Man, first produced in the late 1970s, maintains its fascination, parading before our collective gaze the grotesque figure of a severely deformed human being. Rather than experiencing the recoil as recorded in the play, however, playwright Bernard Pomerance has constructed a theatrical experience that reaches into the heart of this unhappy creature to reveal his sensitive and artistic soul.
The play is based upon an historical figure, John Merrick (Daniel Reichert), found in a carnival sideshow by Dr. Frederick Treves (Andrew Matthews), who carts him to a London hospital for observation. With the help of Mrs. Kendall (Abby Craden), an actress, the hospital bedroom becomes a more genteel sort of freak show, with London’s finest royalty traipsing through with gifts for the creature. Mrs. Kendall is the only person who seems to see behind the oversized cranium and mountains of deformed flesh. But her pity ultimately deprives Merrick of the only intimate relationship in his life when Treves bans her visits.
We are presented with the chronicle of John Merrick’s life from side show display to confidante of princes through a series of short scenes performed in presentational style that de-emphasizes character in favor of their broad strokes, with actors playing multiple characters. Only the principals, Treves, Merrick and to a lesser extent Mrs. Kendall, retain in-depth characterizations.
And what performances they are! Reichert’s Elephant Man emerges as if bursting from the outer shell of offending flesh, reminding us of the humanity within us all. Abby Craden’s Mrs. Kendall, brings verve, saucy but gentle, into the predominantly male portrait. Matthews’ Treves walks the balance beam of emotion between a brisk businesslike exterior and compassion. The uniformly excellent cast includes Brian George, also fine in multiple roles.
Director John DeMita works wonders in the tiny theatre space that presently houses the Andak Stage Company. Dan Volonte’s lighting solution –versatile, rolling cinema lightstands – augments the paucity of lighting instruments, while Steve Markus contorts hospital dividers into many set pieces, whispering the suggestion of locations from Belgium to London. Young Max Quill as a street violinist who provides musical transitions on the violin strikes an interesting note. It remains for the sumptuous costumes by Kim DeShazo Wilkinson to provide time and place.
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Theater: New Place Studio Theatre, 10950 Peach Grove St., North Hollywood 9160
Web Site: http://www.andak.org/
Tickets: (866) 811 4111
Dates: Through June 21, 2009