Topic: The Elephant Man

Mataya

Date: 2016-05-30 09:42 EST
Cast

John Merrick - Jonathan Granger Carr Gomm - Cary Lyons Frederick Treves - Aristotle Kruger Allen Miss Sandwich - Phyllis Miller Ross - Byron Warren Bishop Walsham How - Laurence Hale The Duchess - Leah Fuller Princess Alexandra - Helen Payne Mrs. Kendal - Annabeth Caldwell

Mataya

Date: 2016-05-30 09:43 EST
Synopsis

The Elephant Man opens with Frederick Treves, an up-and-coming surgeon, meeting his new employer Carr-Gomm, the administrator of the London Hospital.

Ross, the manager of a freak show, invites a crowd on Whitechapel Road to come view John Merrick, the Elephant Man. Treves happens upon the freak show and is intrigued by Merrick's disorder. He insists that he must study Merrick further; Ross agrees, for a fee. Treves then gives a lecture on Merrick's anatomy, making Merrick stand on display while Treves describes his condition to the audience.

The freak show travels to Brussels after being driven out of London by the police. Merrick tries to converse with three freak show "pinheads," or people suffering from microcephaly and mental retardation. The "pinheads" go onstage to sing "We Are the Queens of the Congo," but the police will not allow Merrick to perform, because they consider his condition "indecent". Ross decides that Merrick is more trouble than he's worth, steals his savings, and sends him back to London.

When Merrick arrives in London, his appearance incites a crowd to riot. The train's conductor and a policeman are able to fetch Treves to calm the situation. Treves takes Merrick to the London Hospital and interviews a woman, Nurse Sandwich, for the position of Merrick's caretaker. Sandwich assures Treves that she has cared for lepers in Africa and is quite prepared for anything. However, when she sees Merrick taking a bath, she bolts from the room and refuses to take the job.

Bishop How visits Merrick and declares him a "true Christian in the rough." He tells Treves he would like to educate Merrick in religion. Carr-Gomm argues with Bishop How about the importance of science versus the importance of religion. Carr-Gomm announces that, due to a letter he had printed in The Times, the people of London have donated enough money to allow Merrick to live at the hospital for life. Treves tells Gomm that he is glad Merrick now has a place where he can stay without being stared at, and is determined that Merrick should lead a normal life.

When two attendants, Will and Snork, are caught peeking into Merrick's room, Will is fired and Snork is given a severe warning. Treves believes that it is important to enforce these rules, but Merrick worries what will happen to Will and his family. Merrick grew up in the workhouses, and wishes that no one had to suffer that fate. Treves says that it's just the way things are.

John Merrick has a visitor by the name of Madge Kendal, an actress who came across Carr-Gromm's section in the newspaper. When Mrs. Kendal meets Merrick, she requires all of her self-control in order to disguise her horror at Merrick's appearance. After several minutes of strained conversation. Mrs. Kendal mentions Romeo and Juliet. Merrick amazes Mrs. Kendal with his thoughtful and sensitive views on Romeo and the nature of love. Mrs. Kendal says that she will bring some of her friends to meet Merrick, then shakes his hand and tells him how truly pleased she is to meet him. Merrick dissolves into tears as Treves tells Mrs. Kendal that it is the first time a woman has ever shaken his hand.

Mrs. Kendal's high society friends visit Merrick and bring him gifts while he builds a model of St. Phillip's church, having to work with his one good hand. He tells Mrs. Kendal that St. Phillip's church is an imitation of grace, and his model is therefore an imitation of an imitation. When Treves comments that all of humanity is a mere illusion of heaven, Merrick says that God should have used both hands. Merrick's new friends " Bishop How, Gomm, the Duchess, Princess Alexandra, Treves, and Mrs. Kendal " all comment upon how, in different ways, they see themselves reflected in him. However, Treves notes that Merrick's condition is worsening with time.

Merrick tells Mrs. Kendal that he needs a mistress, and suggests that he would like her to do that for him. Mrs. Kendal listens compassionately, but tells Merrick that it is unlikely that he will ever have a mistress. Merrick admits that he has never even seen a naked woman. Mrs. Kendal is flattered by his show of trust in her, and realizes that she has come to trust him. She undresses and allows him to see her naked body. Treves enters and is shocked, sending Mrs. Kendal away.

Ross comes to the hospital to ask Merrick to rejoin the freak show. Ross's health has drastically worsened, and he tells Merrick that without help he is doomed to a painful death. He tries to convince Merrick to charge the society members who visit him. Merrick refuses to help Ross, finally standing up to him after suffering years of abuse at his hands. Ross makes one final pathetic plea to Merrick, who refuses him, saying that's just the way things are.

Merrick asks Treves what he believes about God and heaven. Then he confronts Treves, criticizing what he did to Mrs. Kendal and the rigid standards by which he judges everybody. Treves realizes that he has been too harsh with Merrick and tells him that although he will write to Mrs. Kendal, he does not believe she will return. After Merrick leaves the room, Treves says that it is because he doesn't want her to see Merrick die.

Treves has a nightmare that he has been put on display while Merrick delivers a lecture about his terrifying normality, his rigidity, and the acts of cruelty he can commit upon others "for their own good".

Carr-Gomm and Treves discuss Merrick's impending death. Treves displays frustration at the fact that the more normal Merrick pretends to be, the worse his condition becomes. He confronts Bishop How, telling him that he believes Merrick's faith is merely another attempt to emulate others. It comes out that the real source of his frustrations is the chaos of the world around him, with his patients seemingly doing everything they can to shorten their own lives. No matter how hard he tries he cannot help them, just as he cannot help Merrick. He finally begs for the Bishop to help him.

Merrick finishes his model of the church. He goes to sleep sitting up, a posture which he must adopt due to the weight of his head. As he sleeps he sees visions of the pinheads, now singing that they are the Queens of the Cosmos. They lay him down to sleep normally, and he dies. Snork discovers his body and runs out screaming that the Elephant Man is dead.

In the final scene, Carr-Gomm reads a letter he has written to The Times, outlining Merrick's stay at the hospital, his death and his plans for the remaining funds donated for Merrick's care. When he asks Treves if he has anything else to add, a distressed Treves says he does not and leaves. As Carr-Gomm finishes the letter Treves rushes back in, saying that he's thought of something. Carr-Gomm tells the doctor that it is too late: it is over.

((There we are, folks, another Shanachie show is up and running! As always, here is where you can add your thoughts - respect the setting and have fun!))

RhyDin Free Press

Date: 2016-06-01 10:54 EST
Theater Reviews Our critics review the plays and musicals currently running in Rhy'Din.

The Elephant Man Reviewed by J. C. Moore

Wow! With an exclamation point even. For once in my life, this writer is left speechless.

If anyone is in doubt of Jonathan Granger's ability as an actor, this one play proves the man's talent beyond a shadow of a doubt, proving once and for all that Mr. Granger is not just another pretty face - which is sort of the play's message, but hear me out ...

Without the use of makeup or prosthetics of any kind, Mr. Granger not only convinces us that he is the title character, but imbues us with a mingled sense of horror, pity, and compassion. There's irony in the fact that one of Rhy'Din's handsomest faces has been cast in the role of one of history's ugliest. Not only does Mr. Granger take to the challenge with aplomb, but before the play is over, he brings a certain humanity to the role that almost makes us forget we are only watching a play.

Aristotle Kruger Allen is perfectly cast in the role of Dr. Treves, sharing with us his conflict and his compassion, both as a doctor and a human being. As a doctor, he hopes to help his patient and ease his suffering; while as a scientist, he wishes to study him and understand his affliction, which comes into conflict with his compassion as a man who must overcome his horror and see his patient not only as a case study, but as a man with all the same dreams and desires as any human being.

Annabeth Caldwell is brilliant in her portrayal of Mrs. Kendal, who befriends the afflicted man, lending a certain tenderness to her relationship with the tragic figure, even when he makes the most difficult request of all. Unlike others repulsed by his disfiguration, she overcomes her initial horror to find the heart and soul of the man behind the horrific visage, revealing the heart of a poet and scholar. Like all men, what does the tragic figure desire more than anything else but to love and be loved"

It's a tale that's been told many times before, and yet, what makes this story different is that it is based on fact, on the true story of a man whose brief life baffled science and captivated Victorian England.

As capable as each of these actors are in portraying their characters, it is the cast as a whole that creates the illusion and brings this morality play to life. Kudos to the Shanachie for being brave enough to bring such a play to Rhy'Din, where everyone is different - where humans mingle with elves and vampires and orcs and angels, and where beauty truly is in the eye of the beholder.

It is not a play for the timid or for those looking for a single night's entertainment, but a story that asks us all to search our own hearts and ask who are we to shun those different from us" Who are we to judge who is beautiful and who is not' If true beauty comes from within, then John Merrick - whose real name was Joseph - was once one of the most beautiful souls who ever lived.

But don't take my word for it. Go to the Shanachie and see for yourself. I challenge you to leave without you, too, saying, "Wow!"

Brohkun

Date: 2016-06-10 18:11 EST
It was the subject matter that captured him, mostly.

Robert was a creature that had known sorrow, known pain, and not in the palatable, angsty way of youth or in different jaded shades of those who had unfairly experienced too much. He knew sorrow the same way someone knew dessert. He knew how it tasted and how it felt, being a demon which fed on them. He wondered if the actors and actresses could be convincing enough for him to believe. That'd be quite the challenge.

He was feeling disjointed lately and went to the show after the closing hours of the museum with Delphine. They didn't do too much together outside of work, she had Race to keep in mind. Like with opening exhibits Robert cleaned up, wearing an entirely black suit that seemed more sharp than dour on him. His usual tweed coat and professor look was a despondent Ivy-league drab-chique. Some of the patrons at the show he recognized from also going to the museum. Patrons of the arts, they were called.

During the performance, the one he paid the most attention to was always Jonathan Granger. The Rhy'Din Free Press had not exaggerated his performance. It was not true pain, yet he had still been moved. The air was laden with the sympathetic heartache of the audience. It was as jarring as seeing a beautiful plate of food, smelling it in the air and then realizing that it was a display and that smell was a scented candle. Jonathan created a well-crafted display of pain, of rejection, and of a man's ability to love a wall of people which had hated him to the point of violence. Of a man who just wanted to lay down and sleep.

It was not such a revelation that appearances could evoke those emotions.

The captivated crowd and their sympathies left him sitting in his seat by Delphine, long after the performance was over, to wonder. Why was the representation of the Elephant man so inspiring, when in reality he had stirred up disgust and horrified-awe" If a monster was captured in a painting was it easier to see the parts which were beautiful. She cleared her throat and he realized he was sitting silently and not making for great company. He smiled, briefly, then rose to leave with her.

On the walk back to the museum he reconsidered the performance. Why was John Merrick the play able to move people when John Merrick the person had suffered" It was, perhaps, the yawn of distance that a representation offered. It gave the viewer a safe distance to still love the grotesque and see its merits.

If only demons had spent more time putting on plays.

Delphine

Date: 2016-06-12 00:06 EST
http://cfc.polyvoreimg.com/cgi/img-set/.sig/PyxdKGDxhuiQex7WJ6uZw/cid/200379249/id/CiDLlF4v5hGDiejIZFZllw/size/c600x597.jpg

Delphine had Race who kept her hours busy, yes, but she was not one to decline an invitation to go to the theater. She did, however, wonder why Robert asked her to go with him. Not that she was complaining and as much as she wished to know the answer, the question would never be brought up. Why question a good thing" Instead she looked forward to going to her first show in such a grand place. She had heard many great things about the Shanachie Theater and was itching to seeing if the theater, and cast, lived up to their reputation.

The request came with great timing, not to Robert's knowledge. An encounter earlier in the day had left her not only without the packages she was delivering to the museum but instead with a dozen or so bruises and some other wounds that, like the bruises, would be dabbed with make-up as she prepared for the night Robert. She wasn't sure how she was going to explain to Robert or Race about what happened but that was for another night.

A delightful green dress was the attire she picked out, short enough to show off the ivy tattoos that scrolled along her legs, but long enough that it was tasteful. Green to go with red, her hair dolled up and pinned in place. Color to accent the evening's main color of green was starlight silver in ways of heeled shoes and light jewelry.

Tonight she walked into the theater arm-in-arm with Robert, not a single face she knew but that didn't stop her from smiling pretty and being splendid company. Well when Robert wasn't sitting all broody during the show. The pamphlet in hand helped her place the actors names to their faces but it was the talent that inspired the feel of the show. The characters were well portrayed so well it left an emotional heft but it was one of those stories that rang ever true. People feared what they did not understand and hate what they fear. That could be said for most races, not just human.

When the show ended she sat patiently, waiting for Robert to rise, but instead he seemed to be sitting there thinking or maybe he just fell asleep with his eyes open. Either way she waited a considerable amount of time before clearing her throat and reaching out to touch his hand. He seemed to catch himself and smiled her way but she played it off as if she had not noticed. "Come on, darlin'." she said to him with a charming smile. On their way to the exit she made sure to smile to the actors if she spotted them, giving a silent clap for their performance.

The walk back to the museum she could tell he had started to slip back into his thoughts and instead of allowing him to take it in silently she squeezed his arm. "Penny for ya thoughts, darlin'?" She would listen to his thoughts if he shared them as they walked.

Jonathan Granger

Date: 2016-06-12 10:40 EST
It was the role of a lifetime.

Yasmin had once asked Jon what his dream role might be, not on the movie screen, but on stage. It was no big secret that he was fond of Shakespeare, which offered so many juicy roles - Hamlet, MacBeth, Iago, Lear, to name a few. Romeo had always been a favorite, though Mercutio was a lot more fun. Then, there was Willy Loman, Faustus, Stanley Kowalski, John Merrick.

There were still a few he had yet to play, but he'd seen The Elephant Man once on stage and had been blown away by the performance. In Jon's opinion, the role of John Merrick was the role of a lifetime. It was an actor's dream and a true challenge. While he found the part physically, mentally, and emotionally exhausting, it was a good kind of exhaustion. It was the kind of exhaustion that came from knowing he'd given it his all each and every performance.

He'd had to dig deep on this one, perhaps deeper than he ever had before. Jon had never known what it was like to be ugly, but he also knew ugliness was not just a physical thing and that beauty was, after all, in the eyes of the beholder. He had never known the kind of suffering John Merrick had experienced, but he had known enough pain, both physical and emotional, to be able to sympathize with the character and convey it in his performance.

It didn't hurt, of course, that he was surrounded by a stellar cast, especially that of Aris and Annabeth, both of whom had become close friends. They had been working together long enough now that they knew each other and understood each other. It was a team effort every night, and though Jon was particularly proud of his own performance, he was equally proud of his cast mates. No matter what role he played or how hard he worked, it was the cast as a whole that made every performance come to life.

Each and every night, when they took their final bows and the audience leaped to their feet to offer applause, Jon was reminded why he loved the theater so much. It wasn't just the challenge or the audience's appreciation, though those were important; it was the camaraderie and the satisfaction of knowing it was a job well done.

Annabeth Caldwell

Date: 2016-06-12 22:50 EST
Every night she slipped on the body suit under her Victorian costume. She was willing to do quite a lot for her craft, but nude scenes weren't on the list. Luckily no one had given her any grief so far over it.

The role itself though was great, not quite as great as Jon's or Kruger's but there was still plenty of depth for her to base a good performance.

Mostly it was just great to be helping Jon with a dream. That was part of what she enjoyed most about acting. It was dream making on both sides of the stage.