Stagebrush Theatre's The Elephant Man
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 11/7/97
(out of )Once upon a time, people would anxiously await the arrival of a blockbuster spectacle of a musical or a riotous comedy performed by Scottsdale's Stagebrush Theatre, and bide their time through their dramatic presentations, but in recent years, this trend seems to have reversed itself. The company which made a name for itself putting up shows the likes of a Gershwin or a Lerner and Lowe has begun impressing the theatre community with their dramas. With last season's Amadeus, the buzz was that the Stagebrush was a player of solid dramas. They may still break box office records with The Best Little Whorehouse in Texas, but their current production of the oft-mentioned but rarely produced The Elephant Man, directed in a brisk and measured way by Gerald Thomson, is one of the most impressive productions of a drama mounted by a community theatre in the valley in the past few seasons.
There is a reason why this gem of a play, which both soars with impossible triumphs and scolds with the hideous reflections of societal expectations, is avoided by both community and professional theatres, with rare productions by the occasional college theatre: the central character is the kind of part that every male actor longs to play, but few can do well. And the reason why Stagebrush's production is so impressive rests squarely on the sloped and twisted shoulders of its young actor, Gregory Hazard.
The play, based on the short, ironic, late Victorian life of the hideously malformed John Merrick, holds a funhouse mirror to the audience's faces, allowing them to see the beauty inside the misfigured shell of Mr. Merrick, and the ugly visage of society all at once. At first shunned by society for his freakish exterior, his case is taken up by a new doctor at the London Hospital, and after the administrators write an editorial in The Times about Merrick's plight, donations and condolences pour in, assuring the young man the education and security affordable to him during the rest of his short life. His case is so intriguing, and people are so reluctant to face him, that his mentor, Dr. Frederich Treves, attempts to introduce him to women by bringing an aging actress, Mrs. Kendall, to play the part of a friend unafraid of his horrific countenance. What Mrs. Kendall quickly discovers, though, is a beautifully thoughtful human inside, and endeavors to introduce Merrick to the creme of London's society. By the end, Merrick becomes more and more of societal interest, giving him the fatal urges to become "normal" throughout. Ironically, as he attempts to become more normal, normalcy itself becomes questioned by Dr. Treves.
While most of the cast is impressive in their presentations, the most impressive by far is that of Gregory Hazard, recently of Scottsdale Community College. He is able to recreate in front of the audiences eyes the contorted body and slurred speech of the lamentable Merrick, but also shines through those contortions with the bright and thoughtful mind within. His actions and reactions to those around him are precise and fresh, and he brings across Merrick's lovely, forlorn humanity perfectly.
As the quick though aging Mrs. Kendall, Laura Durant is at her best. She manages to balance the characters regal charms with her overall grasp of reality versus illusion and tell-it-like-it-is attitude. Her portrayal of a particularly touching moment between Kendall and Merrick is handled with the sure hands of a professional, and she takes her time, allowing the audience to savor the many ironies and subtleties of the situation.
Solid in their roles of Dr. Treves and hospital administrator Carr Gomm, Radford John Mallon and Terry Gadaire play their stuffy English airs well, and Mr. Mallon is able to adeptly play his characters descent into despair and madness as he is called to question the very normalcy he has depended on his entire life. There are awkward moments, more textual in nature than the fault of Mr. Mallon or Mr. Thomson, where his madness is over-the-top, but this is intended to push the moral of the play on those who may not be paying attention.
The rest of the ensemble, some who play several parts, are very effective, and there is not a hole in any of their performances, an impressive feat.
Kudos are also in order for the technical element, particularly T.J. Weltzien's set and Mike Eddy's lighting. The stage captures the essence of the darkened Victorian era, and Mr. Weltzien's use of stylized spires and Mr. Eddy's stained-glass colored lighting link well with Merrick's obsession with creating a scale model of a local church. Also impressive were the period costumes by Timothy Slope.
It is inevitable that more people will come to see the flashy,
gaudy musicals that Stagebrush has to offer, but those that are
missing this impressively directed, acted and produced offering
are missing what has become Stagebrush's forte.
Production Details:
The Elephant Man by Bernard Pomerance
Stagebrush Theatre, Scottsdale
990-7405
November 7th-November 23rd, 1997