BWW Reviews: The Alley's THE ELEPHANT MAN is Powerfully Evocative and Emotionally Stirring

Last night, The Alley Theatre hosted the press opening night of Bernard Pomerance's well-known 1977 tragic drama THE ELEPHANT MAN. The nearly 100-minute one act production is a fascinating look at the life of Joseph "John" Carey Merrick, who began developing severe bone and skin abnormalities by age two. The play takes place from 1884 to 1890, focusing primarily on the parts of Joseph Merrick's life when he was acquainted with and studied by Dr. Frederick Treves, a surgeon in London. Throughout Joseph Merrick's life these abnormalities worsened, significantly increasing the physical strain these deformities subjected his body to. Joseph Merrick passed on April 11, 1890, at the age of 27. The official cause of death is asphyxia.

Gregory Boyd's direction of THE ELEPHANT MAN is tender and evocative; however, it does nothing to sugarcoat the horrific living conditions of Joseph Merrick prior to his life at London Hospital. The unsympathetic fascination that exists in humans concerning the bizarre and morose is ever present, even in the hospital, and it is something that Joseph Merrick and his condition have little to no shelter from. In effect, Gregory Boyd ensures that each of the devastating and heartbreaking blows throughout Merrick's beautiful journey of religious discovery and personhood is given supreme gravity. Pacing for the striking and powerful production seems to steadily amble under the helm of Gregory Boyd. Where this would be certain death for other plays, it works well in this production and truly allows the audience to better comprehend the heavy and depressing themes and subject matter.

As the titular character, Jay Sullivan's Merrick is brilliantly constructed and impeccably played. With the opening narration, he contorts his body to mirror (as much as physically possible) the real-life skeletal structure of Joseph Merrick. Even though Jay Sullivan is in phenomenal physical shape and not afflicted with any of the abnormalities of his character, through his sincere and pristine commitment to the character, the audience physically sees the enlarged bones and dangling sacks of cauliflower-like skin. As the play progresses, Jay Sullivan, with coaching in movement from Peter Lobdell, physically illustrates how Merrick's gait, posture, and physical abilities worsen and deteriorate, eliciting audible gasps of empathy and rendering the hearts of the audience to a pulp. Moreover, Jay Sullivan's characterization of Merrick is filled with tangible and believable emotionality. He easily captivates the audience and earns our trust, ensuring that the entirety of his performance is remarkable and memorable. Lastly, both Jay Sullivan and Pamela Prather, the production's dialect, voice, and text coach, deserve highest praise for the vocal acting done in his performance. Jay Sullivan expertly manipulates his jaw throughout the entire performance to mirror the images of Joseph Merrick shown to the audience. This attention to detail and technique alters his voice in vividly affective ways. Then he adds in a realistic, lower-class British accent, glottal stops, and wheezes that show the audience that the effects of the Merrick's condition are more than skin deep. As Merrick, Jay Sullivan displays a wondrous talent that is simply too good to be missed.

Jeffry Bean's portrayal of Treves preserves scientific integrity and honesty. He feels for Jay Sullivan's Merrick; however, his analytical and scientific brain motivates his compassion and care. As a surgeon and member of the medical profession, the abnormalities that offend and horrify others inspire his curiosity. This is not to say that the performance given by Jeffrey Bean is cold or sterile; in fact, it is quite the opposite. Jeffrey Bean's Treves is strikingly dynamic. Throughout the entirety of the performance, Jeffrey Bean warms the audience's hearts with beautiful portrayals of sensitivity towards Merrick, showcasing that the two men enjoyed a heartfelt and healthy friendship.

Mrs. Kendal is stupendously played by Elizabeth Bunch, who breathes such gorgeous life into the character that the audience cannot help but be entirely enamored by her profound performance. Elizabeth Bunch's Mrs. Kendal swiftly touches our hearts; however, it is the final moments of her first scene on stage that is most masterfully and compellingly played that the audience is blown away and obliterated by a rush of fantastical emotions. Later in the production, Elizabeth Bunch deftly adds depth and beauty into the crest of her character's riveting and kindhearted arc, before it all comes crashing down around Merrick and her.

James Belcher wears several hats in the production, playing Ross, Merrick's manager in the freak show, Will, a hospital attendant who tries to sneak a peek at Merrick and is fired for it, and Bishop Walsham How, who personally takes it upon himself to educate Merrick in Christianity. James Belcher does a great job creating distinctly different characters for the three roles. Most impressively, he revolts the audience with his vile and cruel Ross and beguiles us with his perceptive and thoughtful Bishop Walsham How.

Playing Car Gomm, Treves' employer, Belgian Police, and London Police, Todd Waite does skillful work. His Car Gomm is his most memorable of his assigned characters, especially when he shows no mercy in enforcing and upholding the rule that no attendants or other hospital staff will peek into Merrick's rooms without losing their job as a consequence.

Melissa Pritchett as a Pinhead, a woman suffering from microcephaly and mental retardation, Miss Sandwich, a nurse who cared for lepers in Africa, and a rich countess who befriends Merrick, Emily Neves as a nurse in London Hospital, a Pinhead, and a princess who befriends Merrick, Rebekah Stevens as a nurse at London Hospital, a Pinhead, and a wealthy lady that befriends Merrick, Ellen Dyer as a nurse at London Hospital and a Pinhead, and James Black as a man, the train conductor, and Snork, an attendant at London Hospital, all do fantastic and mesmerizing work. Each of their characters brings new levels of insight into the production, sometimes earning laughs from the audience but always playing with our emotions.

Justin O'Brien and Tristien Marcellous Winfree do marvelous jobs as silent orderlies at London Hospital. They are imposing figures that help keep the play grounded in realism while shifting set pieces for scene transitions.

Scenic Design by Riccardo Hernandez still perplexes me and leaves me puzzled, even after mulling over the production innumerous times. He brilliantly captures the stripes associated with a circus big-top and freak show atmosphere with rings of dark metal alternating with rings of light metal. Likewise, bare bulbs are exposed along the perimeter of the stage and on the back wall, giving that turn of the century carnie, showbiz look. The aspect I can't fully rationalize is the choice of metal in set design and in the representation of Merrick's church model. I really am at a loss for how it actually enhances the production. Was the metal a representation of the cold sterility of the hospital? Was it the middle ground in the fight between religion and science, as metal is natural but must be manipulated through scientific processes for us to use? Was it the metaphorical tin can of life, where nothing is an important as we want to make it? Was there a motive for a motif I missed? While stark and discomforting, Riccardo Hernandez's Scenic Design doesn't feel fully appropriate for the production because its meaning is so muddled and confused.

Fabio Toblini's Costume Design is exceptional and lovely. He perfectly captures the fashions of the era and interjects dazzling hues into the choices, which really makes the apparel pop against the dark background and appeal to the eye.

Lighting Design by Christopher Akerlind uses a lot of whites and seemingly bare instruments, creating a harsh and sterile design that provides no filters for flaws. Nothing is shaded or blurred, so the audience sees every nuanced aspect of every character clearly. When color is used, it is primarily displayed against the metallic background and serves to remind audiences of location more than anything else.

Original Music and Sound Design by John Gromada is chilling and visceral. Every sound, whether it be rain falling on metal, a drop in a bucket, or anything else is played at the perfect volume and intensity. The auditory experience enhances the production and plays on our mental and emotional states.

Projection Design by Jeff Sugg is startling and works incredibly in the performance. It seamlessly appears and disappears, creating wholly affective moments. The design is mostly surreal, using confounding images that are at times frenetic and disorienting. All of this keenly adds to the ambience and tonality of the production. My favorite moment in the design is when the eyes on the plastic tarp blinked towards the end of the scene in Belgium.

The Alley Theatre's production of THE ELEPHANT MAN is powerfully evocative and stirring. While, I would have appreciated an intermission to have a brief respite from the thought-provoking and hard-hitting show, there is no denying that every member of the audience, including myself, was simply riveted by the masterful performances delivered by the cast and crew. THE ELEPHANT MAN is a gorgeous story of faith, science, discovery, and love in the forms of human kindness, compassion, and empathy. As we are inundated with tragedy on the news media, it's truly amazing to be reminded of how much there is to love about ourselves and the way that some will go above and beyond to help others.

This emotional and alluring production of THE ELEPHANT MAN runs on the Alley Theatre's Hubbard Stage through May 5, 2013. For more information or tickets, please visit http://www.alleytheatre.org or call (713) 220 - 5700.

All photos by Jann Whaley. Courtesy of the Alley Theatre.

Jay Sullivan as Merrick in the Alley Theatre's production of THE ELEPHANT MAN.

Jay Sullivan as Merrick in the Alley Theatre's production of THE ELEPHANT MAN.

(Left to Right) Jeffrey Bean as Treves and Elizabeth Bunch as Mrs. Kendal in the Alley Theatre's production of THE ELEPHANT MAN.

(Left to Right) Jeffrey Bean as Treves and Elizabeth Bunch as Mrs. Kendal in the Alley Theatre's production of THE ELEPHANT MAN.