The Elephant Man
Reviewed by Lovell Estell III
The El Portal Theatre
Through April 14
RECOMMENDED
In the lobby of the theater in a plastic case, there is a life-size reproduction of the skeleton of Joseph Merrick, or “John” as he is referenced in the script for The Elephant Man. The night this reviewer attended, there was a small crowd gathered around it, staring in wonder and disbelief, and many expressions of sympathy arose about the hideous deformities this human being was forced to live with during his brief life.
It’s a sobering reminder for those who might take their health for granted, and for what follows onstage. Bernard Pomerance’s drama is not without its flaws (it’s a structurally “lazy” play), but director Robyn Cohen has nevertheless done an imaginative job in staging it. It tells the story of a horribly deformed man, Merrick, who went from being an outcast and freak-show oddity to a celebrity and English gentleman during the Victorian Era.
Merrick’s nightmarish earlier life is chronicled through brief scenes early on. We first see the carny barker Ross (Jon Sperry), who acquired him from a workhouse his mother had placed him in, vociferously pitching his “despised creature” to a crowd of eager spectators. Merrick himself (Tom Vitorino) is first seen when Dr. Frederick Treves (John Ralston Craig) is giving a lecture to students with the aid of large photographs of the real Joseph Merrick. Vitorino, wearing only undershorts, contorts his body to correspond to Treves’ graphic description of his various malformations (a posture he maintains throughout). Treves was Merrick’s savior and put him in London Hospital with the intention of learning about his affliction, but also with the hope of giving him some semblance of a normal life.
Merrick’s slow transformation is the most emotionally engaging element of the play. Under Treve’s care, and with the patience and help of the beautiful actress Mrs. Kendall, John’s wit, intelligence and sense of humor gradually materialize until a human being emerges from the “monster.” The change is so stark that, at the start of Act II, John, sporting a natty suit and looking quite the refined gentleman, is visited at Christmas by a host of society notables, including royalty.
This is a physically demanding role, and Vitorino does a very impressive job with it. Other performances are equally convincing. Cohen’s clever direction makes for an atmospherically rich production, a lot of it due to Bo Tindell’s excellent lighting schema. Lillian George provides a handsome gallery of props which function as sets, while the costumes by Melissa Marks, though not especially flashy, are nevertheless effective.
The El Portal Theatre, 5269 Lankershim Blvd., North Hollywood; (Perf. dates vary; call for schedule); through Apr. 14. (818) 508-4200 or https://www.elportaltheatre.com/elephantman.html. Running time: two hours, 30 minutes, with one intermission.
