The Elephant Man

The Elephant Man is something of a hard sell, as the large number of empty seats on the opening night of The Adelaide Rep’s latest production attests. This is a joyous, witty and ultimately life affirming play that contains many scenes of hearty good humour. But it is hard to describe the story without making it sound like a depressing slog.

Bernard Pomerance’s Tony Award Winning work tells the true story of Joseph Merrick (Robert Bell), who was born into poverty and hideously deformed by a rare medical condition (commonly believed to be a combination of Proteus Syndrome and Neurofibromatosis Type 1). He spent most of his early life either eking out a living in workhouses or being exhibited in freak shows, managed by an unscrupulous crook named Ross (Jon Scholten).  Merrick was later discovered by the kindly Doctor Treves (Steve Marvanek), and took up residence in London Hospital, where he spent the remainder of his 27 years as an object of scientific study.

Merrick had a sharp, incisive intellect and sly wit; the way in which his condition set him apart from mainstream society gave him a unique perspective on human nature. Much of the social commentary he delivers in this play is both strikingly astute and hilariously funny. Also, despite his misfortunes, he was not prone to wallowing in self-pity and the satisfaction he takes in the pleasures life affords him are poignant, without being sentimental. It is also fascinating to watch him engage in dialogue with characters from starkly different backgrounds to himself – famous actresses (Georgia Stockham), members of The Royal Family (Nicole Rutty), high society toffs (Jamie Wright), hospital administrators (Tony Busch), clergymen (Philip Lineton) – and see the surprising common ground that emerges in these conversations.

Though photographs of the real Merrick are incorporated into various projections throughout the show, like most productions, this revival eschews the use of prosthetics, with Bell required to suggest  Merrick’s deformity through body language. This he does meticulously and consistently, without ever allowing these tics to steal attention from the emotional intensity of his performance. He is well matched by Marvanek, who offers a warm, compassionate take on the ambiguous role of Treves.

Scholten, Stockham, Rutty, Busch, Wright and Lineton are required to play both various minor characters that Merrick encounters on his travels and more complex individuals who had a greater impact upon the man’s life. They all switch between multiple roles with chameleonic finesse, and very little assist from make-up. Stockham is especially impressive in this regard.

Sets are minimalist, but the atmospheric lighting design, combined with some very well chosen projected imagery conveys a clear sense of time and place. Costumes have an authentic period flavour, but also have a “lived in” quality to them.  Some scene transitions drag, despite the elegant classical music accompaniment, but this is a minor nitpick in what is overall an embarrassment of theatrical riches.

Benjamin Orchard

Photographer: Norm Caddick.