The story of John Merrick, “the Elephant Man,” is so tragic it feels like fiction. Sadly, it isn’t. Born in Victorian England with horrendous physical deformities, Merrick made his living as a sideshow attraction, where he was at least protected from the violence that often greeted him on the street. Eventually, the help of some London doctors let him live more like a “normal” person, allowing him to speak with visitors and read. At least, that’s the version of the story made famous in David Lynch’s 1980 film.
However, the City Centre production suggests that Merrick’s end wasn’t so happy. The play examines the idea of what is “normal” and the nature of charity, suggesting that while Merrick was no longer forced to sell his deformities on the street, he became a free sideshow for the more “civilized” wealthy. The motives of Merrick’s benefactors are carefully examined as they turn him into a sort of pet, bringing him presents and projecting various character traits upon him.
It’s a fascinating idea, but the cast came very close to missing the mark. In the first few scenes the actors seemed awkward, stumbling over their lines, and Merrick’s English accent was the sort usually heard in bad movies. After that, though, they seemed to find their rhythm. Michael Harvey, as Merrick, came up with a more believable accent and portrayed Merrick’s sweet nature without being cloying. Still, despite this sudden improvement, Thia Sterling’s wooden acting was almost enough to pull the show apart at the seams. Mercifully, she only played small roles, but one was bad enough.
Any historic drama—especially one that examines issues such as class, charity, and ethics as much as The Elephant Man does—will be difficult to pull off. The City Centre Production is definitely interesting and risk-taking, but it needed more rehearsals. The raw material is there, but it hasn’t been shaped enough.
