The Elephant Man

Many congratulations to the director and the club management for selecting to present such a fascinating play. It is good at regular intervals to challenge your members and your audience with something offering depth and proving to be thought-provoking. The reputation of this play went before it promising an evening of introspection and contemplation. The text certainly challenges and the remarkably relevant issues considered make it a somewhat uncomfortable ride for the discerning theatre-goer. So many of the issues raised are still seeking to be resolved today.

The decision to play with no interval was very astute. A break in concentration would have made the 'restart' extremely difficult. To get everyone back into the atmosphere after a time of unconnected chat would have placed an extra strain on the actors. In fact, the 90 minutes or so sped by and all too soon it was back to the 21st century.

The use of projection is almost commonplace in productions these days and offers the audience a prod to their imagination. Here it was used most effectively. The presentation of pictures of late Victorian London quickly established the period while the portrait of Merrick was most sympathetically used to introduce the character. The projection also enabled the audience to be informed of dates and timings which enhanced the reality of the storytelling. So many possibilities were available through this medium, but it was used sparingly and wisely so that every intervention was relevant and received appropriate attention.

The use of the playing area had been given great thought and the separation of scenes between the three main areas was well worked. The changes to Merrick’s room and circumstances were handled with extreme sensitivity neither distracting nor breaking the mood. 

The workshopping of various elements of the production paid dividends in the physicality of the portrayals. The contrasts between Treves’ stiffness, Carr-Gomm’s bombast, Merrick’s disabilities and Mrs. Kendall’s softness, for instance, was beautifully brought out while creating a reality of character and yet maintaining the overall style of the "Freak-show". The wonderful syncopation of the Pinheads with their irritating repetition and amusing marionette-like movement was most effectively created. The disgustingly dirty and smelly low life characters were excellently created without over doing it, presenting a definite contrast to the well-to-do characters. All the dual role portrayals were effectively managed, once again without un-necessary signalling.

Items of scenery and properties were appropriately chosen, adding to the period atmosphere while only providing what was needed. Well prepared organisation of items inside the blanket chest led to the minimum of complication for Merrick to find the next item. The placing of the windows to the outside world worked perfectly. The attractive screen was effectively used to allow for changes up stage to be undertaken without fuss.

Well chosen music and effects were handled subtly and appropriately.

With so many different acting areas in use, the lighting design was the key to the seamless running of the play. Light was used effectively throughout, breaking into the darkness of the Victorian squalor and society’s lack of enlightenment. The lighting of Merrick’s completed model was most telling and so completely ignored by the other characters each lost in his/her personal darkness.

The portrayal of the various roles was excellent throughout. Despite the characters’ various speech impediments articulation was very good allowing the well written script to do the hard work. There was clear definition between the myriad characters while maintaining an overall style. It would have been easy for Merrick and Treves to have stood out from the rest, but magnificent though they were, the whole team raised their game to present a very even presentation.

The whole evening was most enthrawling and was deservedly well received by the audience.

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