IN a play in which the greatest deformities are moral and emotional it
is appropriate that the central character of John Merrick should be
presented without artificial grotesquerie and excesses of make-up to
represent his physical affliction. There are contortions, bodily and
facial, in Nik Wardzynski's remarkable performance. Even naked he
appears to convince us that he carries his terrible burden of
mis-shapenness and this illusion is a totally theatrical solution.
This typifies a production by Strathclyde Theatre Group that dismisses
from our imaginations the overlay that most of us will bring of David
Lynch's 1980 film by playing to the strengths of live theatre. The 21
scenes are driven along with a sometimes ingenious continuity that makes
good use of a trio of canopied booths that take the action from the
circus freak-show opening to draped closets that seem symbolic of a
Victorian world which congratulated itself on its indulgence of Merrick.
From peepshow distraction to charitable investment, the course of his
career does not noticeably reflect an advance in civilised values. Paul
Macdonald as Frederick Treeves, the surgeon who adopts The Elephant Man
as a mirror to conscience, reveals the contradictions of his character
-- a basically decent man who can try to give humanity to his
protege/patient, but denies love.
Mary McGrade is the actress Mrs Kendall, whose compassion earns her
shame.
Director Leslie Findlay has done a good job in bringing out some fine
individual performances and developing a strong sense of ensemble. There
is some sympathetic live musical accompaniment from Debbie MacDonnell,
who also composed the score. Given the resources of the largely amateur
company it is a very fine all-round achievement, running until December
18.
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