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.