The Elephant Man

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Production Record THE ELEPHANT MAN

Mary Gill Ashton

B.F.A., The University of Connecticut, 1977

A Thesis Submitted in Partial Fulfillment of the

Requirements for the Degree of Master of Fine Arts at The University of Connecticut 1984 APPROVAL PAGE

Master of Fine Arts Thesis

Production Record THE ELEPHANT MAN

Presented by Mary Gill Ashton, B.F.A.

Major Adviser Leon E. Baile

Associate Adviser V Valerie M. Schor

Associate Adviser

The University of Connecticut 1984

ii TABLE OF CONTENTS CHAPTER I INTRODUCTION ...... 1

Purpose, Scope, and Significance of the Project...... 2 Procedure and Organization ...... 3 II THE ELEPHANT MAN HISTORICALBACKGROUND ... 5

The Victorian Era...... 6 Fact and Fiction in The Elephant Man ... 10 III THE ELEPHANT MAN TEXT ANALYSIS...... 16

Dramatic Structure ...... 17 Parallels and Mirrors in The Elephant Man...... 20 Character and Theme ...... 24 IV THE ELEPHANT MAN METHOD OF APPROACH FOR THE PRODUCTION...... 33

Introduction ...... 34 The Set...... 35 Lighting...... 37 Music and Sound...... 38 Costumes...... 39 Character Differentiation ...... 40 V PRODUCTION RECORD ...... 42

Production Meetings ...... 43 Auditions...... 43 Rehearsals...... 45 Prompt Book...... 51 Symbols Used in the Prompt Book...... 102 VI THE ELEPHANT MAN POST-PRODUCTION ANALYSIS . . 105 Committee Evaluation ...... 105 Director's Evaluation ...... 106 Reviews...... 109

iii VII REFERENCE MATERIAL ...... 112

Cast List...... 113 Production Staff ...... 114 Rehearsal Schedule ...... 115 Scene Breakdown...... 121 Technical Production Schedule ...... 128 Property List...... 130 Costume Plot...... 133 Sound Plot...... 140 Score...... 141 Program...... 156 Photographs of Production ...... 158 Photographs of Costume Plates ...... 173 Illustrations ...... 178 BIBLIOGRAPHY ...... 182

iv LIST OF PHOTOGRAPHS OF PRODUCTION

Ross with Elephant Man Banner...... 159 Treves's Lecture with Slides ...... 159 Pinheads' Dance ...... 161 Belgian Policeman Kicks Merrick ...... 161 Merrick Pleads for Help...... 163 Nurse Sandwich Screams ...... 163 The Bishop and Gomm Argue...... 165 Gomm Fires Will, Snork Looks On ...... 165 Kendal Entertains Merrick ...... 167 "He is just like me"...... 167 Gomm and Lord John...... 169 Treves's Dream ...... 169 Three Noble Ladies...... 171 Merrick with Cathedral Model ...... 171

v LIST OF PHOTOGRAPHS OF COSTUME PLATES

Ross...... 174 Merrick...... 174 Will/Snork and Railway Conductor ...... 175 London Policeman and Belgian Policeman ...... 175 Mrs. Kendal...... 176 Pinhead 1...... 176 Lord John and Bishop How...... 177 The Duchess...... 177

vi LIST OF ILLUSTRATIONS

Designer's Sketch ...... 179 Pictures From Which Slides Were Made...... 180 Ground Plan......

vii CHAPTER, I ’ . -v * INTRODUCTION* •

I Purpose, Scope, and Significance of the Project

The Master of Fine Arts project in directing must create a significant challenge for the director. It should stretch her talents and skills, and prove her ability to mount a production under conditions similar to those found in either an educational or a professional setting. During the developmental stages of this production of The Elephant Man several significant challenges were

identified. First, the size of the production necessitated coordinating a large production staff which included

designers, technicians, managers, actors, and advisors. Second, the episodic structure of the play telescoped the events of the last seven years of John Merrick's life, and a dramatic convention needed to be developed for the staging so that the production could maintain continuity and smoothness. Third, the play calls for twenty characters. In order to reinforce the parallel relationships of the characters, ten actors were cast and the decision was made that all but two would perform multiple roles. In addition, there was a need to create a strong sense of ensemble while developing distinct characterizations for each. An ensemble approach to

performance was essential in spite of the variety in size of roles, experience and training of the actors.

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Although The Elephant Man is adaptable to a variety of theatre spaces, it was chosen to be included in the

Jorgensen "A" series schedule. Its history of successful commercial productions, and the success of the recent movie derived from the same source material, suggested that The

Elephant Man would generate wide campus and community interest. The play offers a range of opportunities for 'theatrical' staging and numerous design possibilities; hence, the choice of the five hundred seat Jorgensen auditorium.

Procedure and Organization The procedure followed for this production is set forth in the Production Guidelines for an "A" series production established by the Department of Dramatic Arts.

Once the play was selected and the production staff assigned, I began research and analysis of the play. Since this production was to be the M.F.A. thesis project for Geoffrey Dawe, who would play the Elephant Man, we began discussions of the play. Prior to the first production meeting I met several times with the set designer to discuss and evolve a concept. Later discussions included the costume and lighting designers. At two production meetings, held on

October 17th and December 19th, the directorial concept was discussed; designs were presented, and a budget was 4 established. The technical director presented a production schedule. Detailed production and rehearsal schedules can be found in the reference materials at the end of this work. Production meetings, auditions, rehearsal schedules, and technical details were coordinated by the stage manager and his assistant. Callbacks were attended by Geoffery

Dawe and my major advisor. Dr. Leon Bailey. Rehearsals were attended by production staff and various advisors. CHAPTER II THE ELEPHANT MAN HISTORICAL BACKGROUND

5 The Victorian Era It has been advantageous to examine The Elephant Man in its historical context, and to view the characters in the light of their historical antecedents. The narrow attitudes and rigid behavioral patterns of the characters become understandable when viewed as reflections of culture. England, the major world power for much of the

1800s, had a stable government, growing wealth, and a moral structure that reinforced the status quo. Great Britain exists in a large world context. This context became increasingly important during the reign of Queen Victoria. Victoria ruled from 1837 to 1901. During this period England underwent many changes. When Victoria took the throne, England emerged from a recession and moved to the forefront of the industrial revolution. Unprecedented growth in population, wealth, urban centers, and imperial expansion altered the face of England forever. This growth occurred prior to 1880.

From 1815 on. Great Britain maintained a balance of power through an alliance with France against more reactionary monarchies of eastern Europe. Several factors enabled Great Britain to dominate world affairs during the first half of Victoria’s reign. First, Great Britain was located at the natural center of the trading world.

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Second, the lengthy rule of a single monarch occurred in a country spared from civil war. Third, England rapidly developed mechanized power and industry.

During the 1850s and 1860s the dichotomy between the wealthy and the workers increased dramatically. England's agrarian economic base became an industrial base, and the countryside fell into ruin. The Great Depression of the 1870s, combined with a series of bad harvests, brought about a collapse in prices which was matched by a collapse in rent. Not only were farmers bankrupt, but landlords were ruined. From 1870 to 1914 the percentage of urban dwellers increased from 2 to 78 percent* of the population.

Rivals with greater natural resources overtook England's wheat trading market.

The depression caused a decline in industry between

1875 and 1894. Heavy investment in capital goods during the sixties and seventies precluded reinvestment during the eighties and nineties. This made England unable to adopt the new German and American techniques.^ The development of rail and steamship travel made it possible for both Germany and the United States to export goods in competition with Great Britain, and the growth rate of both countries after 1871 was far higher than that of Great Britain. As demand declined, so did production. The rate of growth of British exports, which from 1841 to 1871

approached 5 percent per annum, dropped to 2.3 percent per 8

O annum0 during the following thirty years. British economic domination, like its imperial domination, declined as other powers put to use the economic and industrial methods Britain had once employed alone. The term 'Victorian' implies a longer period of time than the sixty-four years of the Queen's reign. Those individuals whose ideas symbolized the period (Charles Darwin, Alfred Lord Tennyson, and Herbert Gladstone), as well as those who carried Victorianism beyond the Queen's death (Bernard Shaw, H. G. Wells, Neville Chamberlain, Bertrand Russell, and Florence Nightingale),^ spanned a period of nearly a century and a half. The age was infused with a sense of secure affluence and inevitable progress. The commercial and industrial predominance for which the age was celebrated waned well before 1901. More than any other single idea, 'moral responsibility’ characterized the Victorian age.

Victorians acted in response to their belief in certain moral imperatives. These were duty, personal responsibility, and living for something greater than the satisfaction of one's immediate needs. This ideology, encouraged by religion, led to the expectation of frugality among the poor and abstention from luxurious display by the rich. 'Self-help' was a paramount virtue. Victorians feared that those unable to practice self-help would become a burden to their families or to society. This fear, 9 combined with a belief that support weakens moral fibre, brought about the workhouse test imposed by the Poor Law Amendment Act of 1834. The purpose of the act was to deter the lazy and protect the respectable.^

At the end of the eighteenth century a new moral code emerged from a new evangelicalism. The non-Christian ideas of the eighteenth-century enlightenment were rejected in favor of a belief in salvation for all. The belief that the ideas of the Enlightenment had led to the 'horrors' of the French Revolution® came at a time when all classes were uncertain about their standing in society. Salvation became social as well as personal, embracing the cause of the downtrodden and the elite. Middle-class morality became a defense in a newly urbanized society against the "historical moral laxness of the traditional aristocracy and the more frightening lack of civilized standards among the new urban masses." The Victorian moral code demanded high seriousness and conformity to a strict set of social

rules based on religious sanctions. Victorians emerged as "neurotically and ridiculously guilt-ridden."® Although marital fidelity was unusual, a curious double standard developed. Victorians successfully pretended that extramarital liaisons didn't exist, and made women the principal custodians of sexual moral standards. Women were expected to be unapproachable before marriage and available on demand thereafter. In time, it came to be the code that 10 mattered above all.

Fact and Fiction in The Elephant Man Many books detail the events in the life of John Merrick. For the purpose of this investigation, value lies in discovering what of Bernard Pomerance’s play is fact and what is invention. For instance, Merrick was named Joseph, after his father, however, since the historical Frederick

Treves insisted on calling him John, Pomerance does, too. The only indication in the play that John Merrick's name might have been Joseph occurs in scene twenty-one. The first scene introduces Carr Gomm and Dr. Frederick Treves. Gomm actually administered London Hospital while Treves was employed there. While reading Treves's dossier in scene one, Gomm provides many factual details about Treves and the hospital environment. The play neglects to mention that, in addition to being employed there, Treves received his medical education at the London Hospital. The character, Gomm, refers to the immediate environment as a place "cruel to life."® This corresponds to accounts of

Whitechapel Road which describe it as follows "set in the midst of the poorest population in the country . . .

noisome, rat infested slum . . . overcrowding and filth were almost indescribable."1® As scene one ends, Treves

gives a few more details about his background which are based in fact. 11

The next scene actually takes place two years later, when Treves discovers Merrick on display across the road from the hospital. Pomerance combines Sam Torr and Tom Norman and invents the character of Ross as Merrick's manager. Joseph Merrick wrote to Torr from the Leicester workhouse in which he lived. Merrick hoped, by displaying himself as a freak, to escape from the cruelties of the workhouse. Torr combined forces with Norman, a showman and entrepreneur, who took over Merrick's management.

Although scene three becomes a lecture in the play, it quotes Treves's book verbatim.

Returned to the care of his manager, Merrick arrives in Belgium in scene four. Pomerance invents much of this scene; however, the police harrassment suffered by Merrick and Ross and their eviction from the country is factual.

Gomm's historical account asserts that Merrick's manager robbed and abandoned him in Belgium as depicted in the play.

Treves's notes confirm that scene five accurately depicts Merrick's arrival at Liverpool Street Station and Treves's rescue of Merrick from the station. In scenes six, seven and eight Merrick greets visitors from a bathtub in his new home at the hospital. Joseph Merrick actually required extensive bathing to alleviate his repulsive odor. Treves's and Gomm's notes provide the basis for the character of Nurse Sandwich in scene six. 12

Treves refers to the number of nurses he attempted to employ to care for Merrick, and Gomm states that "women and nervous persons fly in terror from the sight of him."1*

Scene seven introduces Bishop How, actually one of several clergymen who attended Joseph Merrick. Merrick's primary reading matter consisted of a prayer book and the Bible, so Bishop How's assertion in the play that "he [Merrick] has a religious nature" is probably accurate. Pomerance combines events performed by two different clergymen. The real Bishop Howe performed Merrick's confirmation, and Dr. Vaughn stirred public interest by preaching about Merrick. Later in scene seven Gomm arrives with the news that "the response to my letter to the Times has been staggering. The English public has been so generous that Merrick may be supported for life without a penny spent from hospital funds."12 This was, in fact, the case.

Scene eight conveys the moral spirit of the Victorian age through the characters of Treves and Gomm. Gomm's insistence on strict adherence to the rules and Treves's explanation to Merrick that "rules make us happy because they are for our own good"12 are indicative of the moral attitude of the time. The only historical information conveyed is Merrick's desire to reside in a home for the blind because of his aversion to being stared at. 13

Pomerance takes creative license with the character of Madge Kendal in scenes nine through fourteen. Although they exchanged several letters, no evidence exists that

Merrick and Mrs. Kendal ever met. She sent Merrick gifts and arranged a private box at the theatre so that Merrick could attend, and Merrick built a church model for Mrs. Kendal in appreciation for all her attention. In scene nine Merrick perpetuates the myth that his deformity stemmed from an accident that his mother had with an elephant while pregnant. During Mary Merrick's pregnancy a circus performed near her home, but no newspaper articles suggest such an accident. The handshake that is performed by Mrs. Kendall at the end of scene ten actually happened, but Mrs. Leila Maturin, at Treves's request, shook

Merrick's hand and said that she was pleased to make his acquaintance. As indicated in the play, Merrick responded by dissolving in tears.

Scenes eleven and twelve depict Merrick receiving visits from the aristocracy as they deliver Christmas gifts. Although the scenes are fancifully handled, Pomerance is merely condensing history. Even Princess Alexandra cultivated Merrick's friendship. Scenes thirteen through twenty are fabrication. Scene twenty-one contains actual excerpts from Gomm's final report to those who sent money for Merrick's support.

Pomerance*s play begins from a strong historical base and 14

becomes increasingly fictional as the play progresses. Plays that invent from history are fascinating. Since history is, in any case, an interpretation of past events, further interpretation by a creative writer can be illuminating. Since characters in the play 'really lived' they can provide a sense of greater immediacy and connection for an audience. As such, the message of the play may be conveyed more convincingly. I used very little of the available historical data in dealing with actors; however, we drew upon history for many design decisions.

Experienced actors in this cast did their own research. With more inexperienced actors I usually require historical research. It provides a firm based from which choices can be made about character behavior. Had I done more of this research myself prior to directing the play, I might have chosen to emphasize the fantasy in the latter part of the play. A play creates its own world of reality, whether it has an historical base or not. I decided that for this production the reality of the play was more important than the supposed reality of the history surrounding it. 15

End Notes

^W. Stanford Reid, Economic History of Great Britain (New York Ronald Press, 1954), p^i 372. 2Reid, p. 374.

Francois Crouzet, The Victorian Economy (New York Columbia University Press'] 1982), p. 391] ^L. C. B. Seaman, Victorian England (London Methuen & Co., Ltd., 1973), p. 4. ^Seaman, p. 7. r* °Seaman, p. 8. 7 'Seaman, p. 12. o °Seaman, p. 13. Q Bernard Pomerance, The Elephant Man (New York Samuel French, Inc., 1979), p. 9. ^Michael Howell and Peter Ford, The Illustrated True History of the Elephant Man (Middlesex: Penguin Books, 1980), p. 37. ^Howell and Ford, p. 121. 1 2 x*Pomerance, p. 22. 1 ^ Pomerance, p. 26. CHAPTER III

THE ELEPHANT MAN TEXT ANALYSIS

16 Dramatic Structure The Elephant Man divides into twenty-one scenes. The first six scenes take place in various locations and precede Merrick's residence at the London Hospital. In the first scene Treves and Gomm are introduced. Treves arrives to begin his duties as a teacher and doctor at the hospital. Then Treves discovers Merrick in a side show and takes him to the. hospital for examination. Merrick is returned to his manager, Ross, and they go to Belgium to make their fortune. While there they meet the Pinheaded Ladies and are later thrown out of the country. Ross robs and abandons Merrick who, with the aid of a conductor and a

London policeman, makes his way back to London and the protection of Dr. Treves. With the aid of public donations, Treves is allowed to keep Merrick at the hospital. Treves states his desire to bring Merrick as close as possible to a state of normality. To this end,

Treves brings people into Merrick's world. The first is a nurse who, unable to tolerate Merrick's appearance, runs screaming from the room. He has better luck with Bishop

Waltham How and Mrs. Kendal. The Bishop is impressed with Merrick's religious nature and becomes a regular visitor. Mrs. Kendal, an actress, sees through Merrick's exterior and is touched by the pure soul within. She offers to

17 18 introduce Merrick to her society friends. So begins a parade of nobility who come bringing gifts and fawning over Merrick. Scene twelve ends with Treves questioning the wisdom of his actions.

Act Two begins with the discovery that the money set aside for Merrick's maintenance has been gambled away by one of the noblemen to whom it had been entrusted for investment. During one of her visits to Merrick, Mrs. Kendal bares her breasts for him in order to show him what a woman looks like. This act of charity is thoroughly misunderstood by Treves who arrives unexpectedly and angrily dismisses Mrs. Kendal. Ross returns and attempts to reestablish himself as Merrick's manager. Merrick firmly refuses. Then Merrick, who has been deeply hurt by the loss of Mrs. Kendal, challenges Treves's moral structure implying that Treves is a hypocrite. Treves is visibly shaken by this and the other recent events. The self-doubt of scene twelve has now reached a crisis.

Merrick's physical deterioration has accelerated as his social sophistication has increased. Merrick will die soon; Treves knows it and is unable to do anything to stop it. Treves sees the futility of his attempts to play God and collapses in frustration at the feet of the Bishop to whom he has been trying to explain his crisis. The play ends with Merrick's inevitable death and a report to those who invested money for Merrick's maintenance. 19

The Elephant Man is a selective interpretation of the events in the last six years of John Merrick's life. It is also the story of the effect of Merrick, the Elephant Man, on Dr. Frederick Treves. Proceeding chronologically from 1884 through 1890, the play leaps through time. The author, Bernard Pomerance, selects those events that show Merrick’s rise in society. Treves' gains eminence along with Merrick. A parallel is drawn between the two men. As both rise in society, both experience a deterioration. For Merrick the deterioration is physical. For Treves the deterioration is mental and emotional.

At the beginning of the play Treves is a bright, ambitious, young doctor. With godlike certainty, he feels prepared to "normalize" Merrick. His deterioration is far more obvious than Merrick's. With the searing honesty of innocent observation, Merrick's comments cut through Treves's belief structure and undermine his self- confidence. The bite of Merrick's observations receive extra emphasis due to their position at the end of scenes. Knowledge of Merrick's physical deterioration comes only through a comment by Treves late in the play.

Treves reaches a state of crisis by the end of the play from which we never see him fully recover. Merrick is dead, a state from which there is no recovery. The pattern of mirrors and parallels permeates the play. The audience is asked to see that they are just like 20

Merrick in the purity of their spirit. The characters' mirrors become increasingly complex as the play progresses implying that the further one looks, the more one can see parts of oneself in everyone. The pattern between Merrick and Treves is so strong, and Merrick is so endearing that the audience feels for both men. For Merrick the response is sympathetic; for Treves there is a sense of divine justice that the stuffy Victorian has been brought to his knees.

Parallels and Mirrors in The Elephant Man

In the first and last scenes, Carr Gomm, the hospital administrator is discovered reading. In the first scene he is reading a dossier about Frederick Treves, who has just been hired as a teacher and a doctor at the hospital. In the last scene he reads a letter about Merrick's life at the hospital subsequent to Merrick's death. The second and third scenes are repeated in scenes seventeen and eighteen; however, the roles change hands. Gomm takes Ross's role as barker while Merrick assumes Treves's roles as examiner and lecturer. Merrick's lecture points out Treves's personality deformities in the same way that Treves's lecture in scene three had pointed out Merrick's physical deformities.

The Merrick-Treves mirror and reversal reappears in scenes five and nineteen. In scene five Merrick tries to 21

communicate with the Conductor and the London Policeman.’

He whimpers, "robbed, robbed" and "Jesus.He has been physically abused, needs their help, and attempts to make them understand this. He is unsuccessful. Treves arrives and the scene ends with Merrick's plea, "Help me!"^ The same plea is repeated at the end of scene nineteen, but this time by Treves. Treves's crisis is mental and emotional. His relationship with Merrick has changed his perspective on the world, and he is trying to make sense of it. He attempts to make Gomm and then the Bishop see what he sees. In a long convoluted speech he explains how they have been robbed of their naturalness by their social mores and class structure. Neither Gomm nor the Bishop understands what he is talking about. Just as Merrick called for Jesus in the station, Treves delivers the bulk of his speech to the Bishop, the societal representative of Jesus. Treves collapses in frustration and reaches out to the Bishop saying, "Help me!"'*

Scene eight provides the groundwork for behavior in scenes fourteen, fifteen, and sixteen. A breach of discipline in scene eight causes Gomm to fire Will for doing that which was "forbidden." Treves dismisses Mrs. Kendal in scene fourteen for showing Merrick her breasts, then chastizes Merrick, "Don't you know what is forbidden?"^ In scene fifteen Ross pleads with Merrick to rehire him as a manager, describing how pitiful his fate 22

will be otherwise. This parallels Will's pleas to Gomm when he is fired in scene eight. Both Merrick and Gomm firmly refuse the requests. Merrick punctuates his refusal to Ross with "I'm sorry. That's just the say things are."^

This statement is a direct quote of Treves's response to Merrick over his concern at the fate of Will's children following the firing in scene eight. Scene eight also provides fuel for the fire in scene sixteen. Treves has told Merrick at the end of scene eight that if he abides by the rules, he will be happy and that the rules will make Merrick happy because they are for his own good. In scene sixteen Merrick questions the rules that caused Mrs. Kendal to be fired; "they do not always make us happy because they are not always for our own good." Merrick continues to ask provocative questions.

When he has pushed Treves to the point of exploding with anger, he draws again on a phrase from scene eight: "You are merciful, I myself am proof; is it not so?"^ Treves had used the same argument to assuage Merrick's worry about Will, pointing out that Gomm was merciful for firing Will and that Merrick was proof of this. Scenes six, seven, nine, ten, eleven, twelve, and thirteen do not follow the parallel structure. Scenes six and seven convey historical information. Scene six is designed to show the difficulty Treves has in finding assistance in caring for Merrick. The Bishop is introduced 23

in the following scene and discusses Merrick's spiritual zeal. Gomm enters and discloses that enough money has been donated to maintain Merrick for life. Scenes nine and ten introduce Mrs. Kendal. The possibility of a repeat of scene six exists; however, Kendal sees through Merrick's hideous exterior and becomes his friend and confidante.

The mirror idea is supported thematically when Merrick and

Kendal discuss Romeo and Juliet. Analyzing Romeo's behavior, Merrick concludes that Romeo's suicide was not an act of love. Merrick states that holding a mirror to Juliet's breath and seeing nothing was the perpetuation of an illusion and that when the illusion ended Romeo had to kill himself. Scene eleven shows the parade of nobility bringing Christmas gifts. Each repeats that he/she is very pleased to have made his acquaintance. They do so with far less sincerity than Kendal did in the previous scene. Scene twelve is pivotal for Treves. It is another parade of

Merrick's acquaintances and reinforces the mirror idea. Each expresses in glowing terms how Merrick is like himself. The final lines of the scene are Treves's "Merrick visibly worse than '86-'87. That as he rises higher in the consolations of society he grows visibly more grotesque is proof definitive that he is like me. Like his condition, which I make no sense of, I make no sense of O mine." To this point Merrick has been the protagonist. 24

From this point on he shares that function with Treves. The antagonist remains the same throughout, the narrow minded social mores of the time. Not only does the play have two protagonists, but it also has two climaxes— Treves's breakdown in scene nineteen and Merrick's death in scene twenty. Gomm's clinical recounting of Merrick's life in the final scene leaves the audience to resolve things for themselves. No indication is given of Treves's ability to integrate what he learned from Merrick, and Gomm, who represents the world, appears to be ready to proceed as if nothing of significance had happened.

Character and Theme

The Elephant Man has been transplanted several times. It was first produced by Foco Novo, a radical fringe group in London's Hampstead Theatre.® It then moved to an off-

Broadway house in America, The New Theatre of St. Peter's Church, then to the Booth Theatre on Broadway,1® and finally back to England for an extended run at the National Theatre.11 Each production has prompted strong critical approval and divergent interpretation by the newspaper critics.

Critics disagree radically on the basic theme of The

Elephant Man. Most agree, however, on the power of the play. The themes suggested by the critics range from social commentary on Victorian England, to a morality 25 play about human dignity.13 It has been called a play about the "Natural Man" who trades innocence for the protection of a society that ultimately destroys his purity.14 Many critics cite several themes: love, loneliness, the nature of normality and abnormality,13 the exploration of the human response to tragedy,1® or the exploration of death.17

The diversity of responses to the play's theme parallels the diversity of responses, within the play, to its central character. Merrick's story touches each viewer deeply as Merrick touches each character in the play. The strength of each critic's conviction to his/her viewpoint mirrors each characters conviction within the play that "he [Merrick] is just like me."13

The play shows that human beings are mirrors of and for each other. The scope of this perception can either expand or reinforce the viewer's perspective of himself and the world. The pattern of mirrors is inherent not only in the dramatic structure but in the use of characters as well.

Many characters have counterparts within the play. Through parallel dialogue or action the mirror theme is reinforced. Each character views the world from a narrow perspective. All but Treves use their relationship with the Elephant Man to reinforce their world view. Treves, however, begins a process of transformation. 26

Transformation is not to be confused with changing one's mind. It is used here in a very specific sense, as a shift in the context of belief structure rather than in the content of thought. For example, to an illiterate society the notion that an explanation of how to plant a field could be contained on a piece of paper is unthinkable.1^

Literacy is not part of the paradigm of the aforementioned society. The process of transformation involves several distinct stages—realization, self-examination, crisis and, finally, integration of the new information into a new on paradigm. The play takes Treves only as far as the crisis stage. Merrick's innocent but incisive comments chip away at Treves's picture of the world, pointing up the inconsistencies and hypocrisies within it. Treves goes through the stages of realization and self-examination. He finally reaches a crisis in scene nineteen; however, the play does not show him making the next step of integration. Merrick's crisis was physical. He would die if no safe harbor was found for him in scene five. Once Merrick has been saved from his crisis, he becomes well integrated into his new surroundings. More importantly, since transformation is an internal process, Merrick becomes internally well balanced. The physical, mental, emotional and spiritual parts of him are in accord with one another. Subtler parallels exist than those mentioned in the section on dramatic structure. Ross has three character 27 counterparts in the characters of Snork, Bishop Waltham How and Carr Gomm. Just as a talent agent might discover a new actor, Ross has discovered Merrick and tries to use that to engender guilt in Merrick in scene fifteen. Snork discovers Merrick, too, by peering in on him in scene eight and later in scene twenty he discovers Merrick dead. Both Ross and the Bishop talk of consolation. Ross calls Merrick a "despised creature without consolation"^ in scene two, implying that he (Ross) is the only one who offers Merrick consolation. The Bishop offers Treves the consolation of "Christ's church"^ in scene nineteen.

Treves has reached a crisis in which he has just admitted that "science, observation, deduction . . . can no longer serve as consolation."23 Gomm is substituted for Ross in scene seventeen during Treves's dream. Both Ross and Gomm have been portrayed as having money as their major concern. Ross extracts extra money from Treves in scene two. This is interest paid on the loan of Merrick to Treves for examination. Gomm mentions money constantly. He explains to Treves in scene thirteen that he works hard to present the hospital in a favorable light, and that Treves's association with Lord John means that "titled swindlers" are "mucking up the Pitch."2^ Gomm has taken over Ross's role as "pitch man" for Merrick. Gomm’s role as disciplinarian in scene eight is mirrored by Treves in scene fourteen. Both men dismiss their employees for doing 28

"forbidden" things. Most of the characters are structural devices and as such are not written three dimensionally; however, Merrick, Treves, and Kendal have much more depth. Treves's naivete at the beginning of the play makes him as narrow as the other characters, but many factors work on him so that he begins to question the validity of his well ordered world. In each scene some interaction occurs that makes

Treves question himself and his values. Merrick's observations which are innocent, ironic, and incisive do

the most to undermine Treves's self-confidence. It is these witty and thought-provoking observations juxtaposed to Treves's stuffy formality that endear Merrick to the audience. Merrick grows in strength and confidence as he is educated by Treves. Treves's idea of education is to bring Merrick's ideas and behavior into line with his (Treves's) notion of what is proper. Three-quarters of the way through the play, Merrick has gained enough self-

confidence to resist his former manager and to openly

challenge Treves. Treves has reached a point where he can admit that he may have been wrong. He will not, however, tell Merrick that his death is imminent. Treves's crisis is twofold. First, despite all

efforts, he is powerless to do anything to stop the progress of Merrick's disorder. All of his efforts have been superficial rather than substantive and he knows it. 29

Second, he has seen his spiritual poverty in comparison to Merrick's inner beauty.

Mrs. Kendal is the one person who sees quickly through Merrick's exterior. She is warm, compassionate and drawn to the man within. The audience identifies with Kendal's compassion. She treats Merrick as an equal. Her ultimate act of compassion is to display her body for Merrick who has never seen a normal woman's body before. Although the

act is not a sexual overture, it is thoroughly misunderstood by Treves. He discovers Kendal, partially disrobed, alone with Merrick and angrily dismisses her. Because of the empathy for Kendal and Merrick, Treves appears unsympathetic, so that when he breaks down in scene

nineteen the audience does not feel for him. The empathic

involvement with Merrick is also undercut. During his death scene, the entrance of the pinheads in a surrealistic dream sequence makes Merrick's death ambiguous. Did Merrick decide to die or was it an accident? The ambiguity leaves the audience thinking rather than feeling. This ambiguity points up the major difficulty with the play. Those critics who disliked it considered it too didactic. The inability to fully sympathize with either of

the main characters contributed to this. The Village Voice

stated in its January 29, 1981 article that the "network of lessons was burdensome."^ Commonweal's article of March

30, 1979 warns that that the play is in danger of becoming 30

a 'lecture' because "Merrick's life and death are not left to work as dramatic metaphor," and become "part of an overall lesson plan."^® The emotionally compelling quality of the story itself or its thematic importance supercedes the didacticism for those critics who liked the play. The (London) Times on July 20, 1980 explains that "one doesn't have to go for Mr. Pomerance's message. One goes for the intrinsic interest of the story told."27 The article in the June 1979 Horizon states that the thematic implications "exceed the bounds of an indictment of Victorian no society." Even those who found the play too didatic found Merrick, Treves, and Kendal compelling. Whatever problems the script may have, it touches something in its viewers that goes beyond maudlin sentimentality. Perhaps we simply need to know that our inner beauty, like Merrick's, is more important than our outward appearance. 31

End Notes

■^Bernard Pomerance, The Elephant Man (New York: Samuel French, Inc., 1979), p. 17. o ^Pomerance, p. 18. ^Pomerance, p. 55. 4Pomerance, p. 43.

^Pomerance, p. 46. 6Pomerance, p. 47. 7Pomerance, p. 48. O “Pomerance, p. 38. 9Michael Owen, "The Enigmatic Author of The Elephant Man," New York Times, February 4, 1979, Sec. D, p. 3T 10Douglas Watt, "'Elephant Man,' A True Triumph," New York Daily News, April 20, 1979, p. 5. ^"The Moral Message of a Victorian Freak," The (London) Times, July 20, 1980, p. 40. ^Jerome Max, "Treading Too Heavy," Village Voice, January 29, 1979, p. 77. 1 O Steve Lawsen, "The Elephant Man," Horizon, June 1979, p. 16. 14Gerald Rabkin, Soho Weekly News, April 26, 1979, p. 62. 49Victoria Radin, "National Freak Show," London Observer, July 20, 1980, p. 22. 16Mike Portantiere, "The Elephant Man's New Lady," Staten Island Register, January 10, 1980, p. 11. 47Clive Barnes, "Elephant, Giant of a Play," New York Post, April 20, 1979, p. 35. 1 Q Pomerance, p. 36. 32

■19‘•^For a detailed discussion of paradigm shift, see Werner Erhard, "A World that Works for Everyone” (San Francisco: Werner Erhard and Associates, Inc., 1979). 20 For a detailed discussion of transformation, see Marilyn Ferguson, The Aquarian Conspiracy (Los Angeles: J. P. Tarcher, IncT^ 1980). 21 ^Pomerance, p. 10. op “^Pomerance, p. 54. oq Pomerance, P- 54. 24 ^Pomerance, P- 39. 25"Treading Too Heavy," Village Voice January 29, 1981, p. 77. 2fi Commonweal , March 30, 1979, p. 180. ^"The Moral Message of a Victorian Freak," The (London) Times, July 20, 1980, p. 40. OQ °Steve Lawson, "The Elephant Man," Horizon, June 1979, p. 18. CHAPTER IV

THE ELEPHANT MAN METHOD OF APPROACH FOR THE PRODUCTION

33 Introduction Criteria used to determine the method of approach for the production fall into two categories directorial principles and thematic considerations. The directorial principles were as follows: 1) to thoroughly integrate production elements

2) to achieve the continuity and smoothness of production in order to disguise the choppy, episodic structure of the play

3) to encourage a strong sense of ensemble among the actors and the design team

4) to use a non-literal approach to the design elements The thematic considerations were as follows: 1) to use the idea of mirrors and parallels in casting, blocking, and the development of design elements 2) to use Merrick as a source of purity and light

Fortunately, all those connected with the production were amenable to a truly collaborative process. As the

production evolved, ideas from the team began to integrate,

and after a while it was no longer clear nor did it matter from whom the idea originated. The following discussion addresses itself to the way in which each production

34 35

element evolved. The discussion is somewhat misleading in that the process was far less coraparmentalized than presented here.

The Set Collaboration began with the set designer. Textual analysis and thematic considerations were discussed first, then practical considerations. We reached basic agreements from which discussions proceeded. First: the production needed to flow. Second although the play has an historical base, it is essentially non-realistic. Third Merrick should be visible throughout the production even when not directly involved

in the action.

The theme of mirrors was discussed. We agreed that the side show in which Treves discovers Merrick mirrors the

environment in which he finally lives at the hospital, and that each environment is a kind of cage. The side show and the cage became the conceptual base for the design. A painting by Seurat called The Side Show conveyed mood and suggested color palate to the other designers. Practical considerations were then discussed. The play takes place in Victorian England and the specific locale changes six times in the first five scenes. From then on the play takes place in the London Hospital; however, Merrick’s room evolves as he does, filling with 36

furniture and gifts. When the temporal trappings have reached their apex, Merrick begins to build his cathedral model.

The set consisted of two platforms. Architectural details communicated the essence of the Victorian era. The blocking integrated the movement of furniture and props. Actors, in character, set their own scenes so that the flow of the action would not be interrupted. A small platform, stage left, was used exclusively as Treves's office. The large raked platform became all locations in the first five scenes as well as Merrick's room in the hospital. The rake of the main platform increased upstage visibility and added to the sense of distortion inherent in the side show. Ramps facilitated movement on and off the platform.

Five profile framed scrim panels defined the space

surrounding the platforms. An additional profile placed on the main platform became a rear projection screen for the

slides in scene three and helped integrate the platforms with the rest of the set. It was flown out between scenes

three and four. The scrim was painted with a wash that suggested Tiffany glass in colors of blue, purple, green, and gold. Seven columns connected by overhead trusswork suggested exterior architecture, and gave the platform the feeling of a cage. The five columns located at the edges of the platforms had wall sconces that looked like gas 37 lights. With the pit cover removed and black drapes hung around the set, it appeared to be suspended in a black void. Banners used by Ross and the Pinhead Manager defined their areas.

Light oak furniture indicative of the period complemented the lightness of the scrims. Slat-backed chairs with upholstered seats and spool-legged tables completed the setting.

Lighting Lights served many functions in this production. Metaphorically, Merrick was to be seen as the source of light. Functionally, areas undefined by scenery were defined by light. To maintain the flow, the only blackouts occurred at the act break and at the beginning and end of the show. This approach, amended to include a brief blackout following Merrick’s death, allowed the actor to get off stage. The designer developed a shadowy transition light used between scenes to silhouette actors as they rearranged the furniture. During the two dream sequences a goboed green light was used to create an aura of surreality. In the hospital scenes the light flowed with the movement on stage. The wall sconces were used for motivational light. During scenes two and four, vivid side

light was enhanced the side show quality. During Treves's 38

lecture in scene three, the actor playing Merrick contorted his body into a symbolic representation of Merrick's body while slides of the real Elephant Man were displayed behind the actors. The lights successfully integrated the multiple design styles, and reinforced the focus of the action, heightening emotional impact.

Music and Sound

Taped sound was used six times during the show. In scenes two and four it assisted in establishing location. "Liverpool St. Station" announced the location of scene five while the sound of an angry crowd under the whole scene enhanced the dramatic tension. The questions asked during the lectures in scenes three and eighteen were taped as well. Live music from a solo cello was used during the transition from scenes five to six and from then on between most scenes in the play. Musical selections came from the Broadway score, comprised of pieces by Bach, Saint-Saens, Sammartini and the arranger David Heiss. They ranged from sonatas to preludes to minuets in both major and minor keys. The choice to use a live cellist was made in the hope that the musician would develop a feel for the show and use her talent to interpret the music, in the same way that the actors interpret their roles. Fortunately, the cellist was up to the challenge. The emotional emphasis she provided became an integral part of the production. 39

Costumes Collaboration with the costume designer began at an early meeting with the design staff. The palate for the set was introduced. The costumer agreed to work within that palate. Since the play was not approached as "realism," historical accuracy was balanced with theatricality. The costumes for Merrick and Treves evolved with them, becoming increasingly formal as the characters rose in society. To set Mrs. Kendal apart, a rose-colored dress was chosen to contrast with the cool set colors. All characters except Merrick and Treves would have one costume to identify them. As showmen, Ross and the Pin Manager had an air of seedy theatricality. The orderly, Will, and Snork wore identical jackets and pants to suggest uniforms. The Pinheads had the most theatrical costumes, inspired by pictures of African tribes from National Geographic

Magazine. The Pins, clad in African mumus with ox tail collars and high-ringed necklaces, wore Afro wigs teased up and gathered to a point to create their pinheads. Feathers and bones decorated their costumes; however, no attempt was made to stylize the make-up.

Although discussions with the costume designer were not as extensive as those with the other designers, the costumes integrated well into the overall look of the show. 40

Character Differentiation All but two actors played multiple roles which necessitated distinct character differentiation. The actors chose bold body signs for each character, pinpointing the character's energy center. To complement the physical distortion of Merrick's body, the Pinhead Ladies played on their knees.

Dialect choices followed physical choices. Formal stage speech was chosen for all middle and upper class characters. For most American audiences this dialect sounds slightly British and imparted the proper flavor for the production, without drawing excessive focus. A variety of dialects were chosen for the other characters. Ross used a broad Cockney whereas the Pin Manager chose a light

Irish dialect. Snork and Will had Midland British dialects, and the Conductor and the London Policeman developed a modified Cockney. A French dialect was tried and abandoned for the Belgian characters as it drew too much attention to itself. Merrick began with a slight

Cockney that evolved into formal stage speech as the play progressed.

Finally, each actor chose a strong action for his character to play. This was done to create a two- dimensional world as a backdrop against which the three- dimensional characters of Treves, Merrick, and Kendal could develop. An extended discussion of the evolution of these 41

choices is found in the Rehearsal Process section of this work. CHAPTER V- PRODUCTION RECORD

42 Production Meetings At the two production meetings held on October 17 and December 19, the directorial concept, production schedule, and budget were established and agreement was reached on the following:

1) live cello music would be used 2) the score would be taped for emergency use

3) slides would be made by professional photographers 4) special lenses would be rented 5) fog would be used in scene five (this was cut during production week)

6) a technician would be found to assemble the sound effects tape

7) the director and lighting designer would meet in early January to discuss blocking At these meetings the set and costume designs were approved.

Auditions For the auditions held on December 4 and 5, actors prepared a two-minute monologue. Confusion about eligibility to participate in both The Elephant Man and

Taming of the Shrew resulted in a low turnout for the initial auditions. Once the confusion cleared, the numbers

43 44

of auditioners increased. The monologues, used to screen auditioners, served to eliminate actors who seemed too young or inexperienced, and to discover any actors who might previously have been unnoticed. I looked for actors who could demonstrate their experience, temperament, flexibility, and training. I had worked with novices in previous productions, but since I was using a small cast and doubling many roles, experienced actors were necessary. Although I had preconceptions about the men, I had very few ideas about which women would be appropriate. I asked actors with whom I was unfamiliar to re-do their monologues using new circumstances. Many actors whose monologues were proficient balked when asked to demonstrate their ability

to adapt under pressure and were quickly eliminated. Callbacks, held on December 6, focused on Treves, Kendal, and Gomm. Geoffrey Dawe read with all actors. Two pairs of actors emerged as possible Treves and Gomm. The final decision was made on the basis of their interpretation of the role. One pair had a sentimental interpretation which was inconsistent with my own. Several possible Kendals appeared. The sense of connection with other actors and the freshness of choices in interpretation determined the casting of Kendal. After some collaboration with Dr. Bailey and Geoffrey Dawe, casting was completed. The list was posted on December 7 and the first read-

through was scheduled for December 12. 45

Rehearsals Rehearsals began on December 12 with a full read- through of the script. Unfortunately, appendicitis took one actor from us for the initial reading. The actors used

Christmas break to learn their actions and to thoroughly familiarize themselves with the script. They were not to learn lines yet. We reconvened on January 18, five days prior to the beginning of classes. I expected to accomplish a lot without the encroachment of classes, and my expectations were fulfilled. With all ailments healed, the five male actors assembled to build the first layer of work.

Actors developed strong body signs for each character. They looked for the physical immobility or deformity which corresponded to their characters' internal immobility. For example, Treves began with a strong upright posture, chest held high, feet parallel. As the play progressed, he softened his erect carriage and expanded the size of his

gestures to show the character losing internal rigidity. Gomm developed, and never lost, a rigidity similar to that of Treves. Ross and the Pinhead Manager carried their weight low in their bodies and led with their groins and knees, respectively. The London Policeman and Conductor, grounded in their feet, rigid in the chest and mid-section, respectively, contrasted sharply with the Bishop who appeared to look down his nose at everyone from his stiff 46 neck and shoulders. Kendal's gestures were percussive, and her movement patterns sweeping, in contrast to the formality of Gomm and Treves. The Pinheaded Ladies played on their knees. Since they were the only other side-show freaks, I wanted their postures to be as unusual as

Merrick's. Lord John and the three noble ladies stiffened their spines. The ladies moved as if their feet were on ball bearings.

On January 23 the entire cast met for a second read- through and to see the set model and costume renderings. The designers answered questions about their presentations, and the actors had a stronger sense of the space in which they were operating. The body work progressed with the blocking which was completed by the end of the second week of rehearsal. Duplicate blocking patterns were used in the pairs of scenes which mirrored each other. Following the body work the actors developed dialects for each of the characters.

After completing scene blocking, transition blocking began. It became an integral part- of the action. Actors

practiced their costume changes during transitions so that this became part of the flow of the action. As scenes were blocked, actors learned their lines. Re-working scenes many times assisted actors in firmly establishing the individuality of each character. Postures softened as rehearsals progressed and became integrated into complete 47 characterizations. As emphasis shifted into the second stage of rehearsals, I reminded actors to consider their final run in the rehearsal room as a kind of opening night. By using this attitude, I hoped to counteract the inevitable loss of momentum during production week and enter that final phase with a sense of confidence in the quality and stability of their acting, so that technical elements could be viewed as a welcome addition rather than an intrusion. Any signs of complacency that may have crept in vanished immediately. Actors now worked to develop their two-dimensional characters into three-dimensional people with a narrow world view. Each actor successfully achieved the required character differentiation, but their connections with one another were minimal.

The actors experimented with breathing in the lines directed to them and exhaling their responses to increase their intuitive organic connection. I repeatedly asked,

"How important is it?" Each character had to answer this question with the intensity of his performance. I sought to push the actors further. During warmups prior to the first run-through, I conducted a group relaxation during which I read the dictionary definition of 'inspire.' The actors completed their warmup and began rehearsal without discussion. Act I benefited from the experiment. Actors' self-satisfaction at their success 48

caused a loss of momentum in Act II. However, from then on, connection increased as the actors worked to inspire each other.

I modified my directorial approach to accommodate each actor's needs. The actor playing Gomm quickly translated my notes from desired results into playable action. Although it appeared as if Treves was able to do the same thing, he responded much better to direction given as an action to complete. In playing Merrick, Geoffrey needed to develop from a character acted upon into a character who acts. He had no difficulty with the former, but needed to be reminded in the later scenes to play each moment from the assumption that he could achieve his goal. The actor playing Ross responded best to moraent-by-moment coaching to counteract his tendency to generalize. I used this technique with several actors at moments when they seemed to be playing attitudes rather than actions. Mrs. Kendal executed specific direction well but moved tentatively to expand the size and detail of her performance. Nurse Sandwich posed the greatest challenge. She was highly motivated, but so unaware of herself that her efforts to act were thwarted by her desire to 'do it right.'

Eventually she achieved some success. The actor playing the Pinhead Manager also played Lord John, Will, and the London Policeman. His initial attack on each character was strong and correct; however, he seemed unable to grow at 49

the same rate as the other actors. Finally, the characters were fleshed out and he gave a good performance. Constant encouragement drew the desired performance from the actress playing the Countess and Pinhead #2. Princess Alexandra who doubled as Pinhead ftl presented an interesting challenge. Early in rehearsals she worked quickly making excellent choices. Later, the movement from two- to three- dimensional characterization posed problems. Drawing analogies achieved more than simple explanation.

With the set completed early, we ran through on the stage one week prior to the actual move-in date. Actors discovered the size of performance needed for even the most intimate moments, and the appropriate timing for entrances and exits. They carried this information back to the rehearsal hall for the final week. By February 16 the actors had achieved a respectable level of performance. Three dress rehearsals followed two technical rehearsals and a dry tech. During these rehearsals actors attempted to use each new element to enhance their

performances. They achieved this with varying degrees of success.

Tech week often becomes an endurance test. I found it

difficult being inundated with questions from all designers

simultaneously. Actors' questions frustrated me, as I attempted to absorb all aspects of technical production. An assistant through whom all questions could be funneled 50

would have been of great assistance. Most adjustments occurred in lighting. Visibility took priority over mood and lighting the actors superceded lighting the set. I reblocked scenes seven and nine to accommodate the lighting limitations and the requirements of the large theatre. Cue counts quickened to pick up the pace between scenes and keep the production flowing. Set changes were minimal and only one costume proved less than satisfactory. The lighting designer and I answered questions from our advisors while the undergraduate tech staff learned rudimentary running crew skills. The actors, all of whom were students at various levels of development, taught each other patience, concentration, and endurance. Inspired by the levels of learning happening simultaneously, I returned to making the play happen. In the preview performance I asked the actors to share with the audience that which is truly valuable, their hearts. During the run I met with the actors nightly. We repeated the ritual established early in the rehearsal process, an integration breath. During this ritual we took a few moments to silently reestablish contact with one another, prior to the call for places. The run consisted of eight performances from February 23 to March 3. No performances were given on Sunday or Monday. Prompt Book

51 | -> \ T o

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childhood

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. the

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Anatomy

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in Hospital, now in are

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Mr. reves Consolation? and On and FEES ATiappy 100

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accomplishment,

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:ntVJ e>nt 6* C ^ ~T H vi) GxlUT 53

10 THE ELEPHANT MAN In an English age, an Englishman. A teacher and a doctor at the London. Two books published by my thirty-first year. A house. A wife who loves me, and my god, 100 guinea fees before I’m forty. Consolation for what? . As of the year ad 1884, I, Freddie Treves, have Te x U L o r excessive blessings. Or so it seems to me^ l_Q $ Pr ------5 cx \ Blackout.

Scene 2

ART IS AS NOTHING TO NATURE

Whitechapel Rd. A storefront. A large advertisement of a creature with an elephant’s head. Ross, his manager. f^4 fAen^ Ross. Tuppence only, step in and see: This side of RiteVs tWi'wrthe grave, John Merrick has no hope nor expectation of relief. In every sense his situation is desperate. His physical agony is exceeded only by his mental an guish, a despised creature without consolation. Tup pence only, step in and see! To live with his physical hideousness, incapacitating deformities and unremit ting pain is trial enough, but to be exposed to the cruelly lacerating expressions of horror and disgust by all who behold him—is even more difficult to bear. Tuppence only, step in and see! For in order to sur vive, Merrick forces himself to suffer these humilia- -y ^fcrvoB tions, I repeat, humiliations, in order to survive, thus ^ p U or Pr ^ he exposes himself to crowds who pay to''gape and

X tb ^>2 yawp at this freak of nature, the Elephant Man. 54

THE ELEPHANT MAN 11

(Enter Treves who looks at advertisement.)

Ross. See Mother Nature uncorseted and in malig nant rage! Tuppence. Treves. This sign’s absurd. Half-elephant, half-man is not possible. Is he foreign? Ross. Right, from Leicester. But noting to fear. Treves. I’m at the London across the road. I would be curious to see him if there is some genuine disorder. he is a mass of papier-mache and paint however— q Ross. Then pay me nothing) Enter, sir. Merrick, a,'ne stand up. Ya bloody donkey, up, up.

(They go in, then emerge. Treves pays.) £jrf'e<3e Treves. I must examine him further at the hospital. Here is my card. I’m Treves. I will have a cab pick him up and return him. My card will gain him ad- mittance.l T* C Ross. Five bob he’s yours for the day. Treves. I wish to examine him in the interests of science, you see. Ross. Sir, I’m Ross. I look out for him, get him his living. Found him in Leicester workhouse. His own ma put him there age of three. Couldn’t bear the sight, well you can see why. We—he and I—are in business. He is our capital, see. Go to a bank. Go anywhere. Want to borrow capital, you pay interest. Scientists even. He’s good value though. You won't find another like him. TV<- a Treves. Fair enough. (He pays.) Ross. Right. Out here, Merrick. Ya bloody donkey, out! L

Lights fade out. 55

12 THE ELEPHANT MAN

Scene 3

WHO HAS SEEN THE LIKE OF THIS?

Treves lectures. Merrick contorts himself to approx imate projected slides of the real Merrick.

Treves. The most striking feature about him was his enormous head. Its circumference was about that of a man’s waist. From the brow there projected a huge bony mass like a loaf, while from the back of his head hung a bag of spongy fungous-looking skin, the surface of which was comparable to brown cauli flower. On the top of the skull were a few long lank hairs. The osseous growth On the forehead, at this stage about the size of a tangerine, almost occluded one eye. From the upper jaw there projected another mass of bone. It protruded from the mouth like a pink stump, turning the upper lip inside out, and making the mouth a wide slobbering aperture. The nose was merely a lump of flesh, only recognizable as a nose from its position. The deformities rendered the face utterly incapable of the expression of any emo tion whatsoever. The back was horrible because from it hung, as far down as the middle of the thigh, •Huge" sacklikc masses of flesh covered by the same loath some cauliflower stain. The right arm was of enormous size and shapeless.1 It suggested but was not ele^ phantiasis, and was overgrown also with pendant masses of the same cauliflower-like skin. The right hand was large and clumsy—a fin or paddle rather than a hand. No distinction existed between the palm and back, the thumb was like a radish, the fingers like thick tuberous roots. As a limb it was useless. The other arm was remarkable by contrast. 56

THE ELEPHANT MAN 13 It was not only normal, but was moreover a deli cately shaped limb covered with a fine skin and pro vided with a beautiful hand which any woman might have envied. From the chestfhung a bag of the same -LQ7B repulsive flesh. It was like a dewlap suspended from the neck of a lizard. The lower limbs had the char acters of the deformed arm. They were funwieldy,’^1^lc- dropsical-looking, and grossly misshapen. There arose from the fungous skin growths a very sickening stench which was hard to tolerate. To add a further burden to his trouble, the wretched man when a boy devel oped hip disease which left him permanently lame, so that he could only walk with a stick.* (To Mehrick.) -LQ7D Please. (Mehrick walks.) He was thus denied all means of escape from his tormentors.v ^0.2. Voice. Mr. Treves, you have shown a profound and unknown disorder to us. You have said when he leaves here it is for his exhibition again. I do not think it ought to be permitted. It is a disgrace. It is a pity and a disgrace. It is an indecency in fact. It may be a danger in ways we do not know. Something ought to be done about it. Treves. I am a doctor. What would you have me *1“ * ou^ V, _ _ do? r SQl

Scene 4

THIS INDECENCY MAY NOT CONTINUE

Music. /I fair. Pinheads huddling together, holding a portrait of Leopold, King of the Congo. Enter Man. 57

THE ELEPHANT MAN 14 LQH Pm $ It1*"3 Man.1 Now my pinheaded darlings, your attention P please. Every freak in Brussels Fair is doing sorae- \ r

(A /' (Enter Merrick., Ross.)

Merrick. Cosmos? Cosmos? Ross. Congo. Land of darkness. Hoho! (See Pins.) Look at them, lad. It’s freer on the continent. Loads of indecency here, no one minds. You won’t get coppers sent round to roust you out like London, p Reckon in Brussels here’s our fortune. You have a e* little tete-a-tete with this lot while I see the coppers l_ about our license to exhibit. Be right back.) (Exits.) ^ * Merrick. I come from England.1 Pins. Alio I Merrick. At home they chased us. Out of London. Police. Someone complained. They beat me. You have no trouble? No? Pins. Alio! Alio! Merrick. Hello. In Belgium we make money. I look forward to it. Happiness, I mean. You pay your police? How is it done? Pins. Allot Allot Merrick. We do a show together sometime? Yes? I have saved forty-eight pounds. Two shillings. Nine pence. English money. Ross takes care of it. 58

THE ELEPHANT MAN 15

Pins. Alio! Alio! Merrick. Little vocabulary problem, eh? Poor things. Looks like they put your noses to the grind stone and forgot to take them away.

(Man enters.) Pw» crd" 2* Man! They’re coming. (People enter to see the girls’ act.) Now. 1 ------t-0». \o Pins. (Dancing and singing)

We are the Queens of the Congo, The Beautiful Belgian Empire Our niggers are bigger Our miners are finer Empire, Empire, Congo and power Civilizuzu’s finest hour Admire, perspire, desire, acquire Or we’ll set you on fire!

Man. You cretins!lSorry, they’re not ready yet. Out please. (People exit.) Get those words right, girls! Or •prn foXe ^^r’jyou know whay(Man eri'fs. Pins weep.) oc ^ Merrick. Don’t cry. You sang nicely. Don't cry. There there.

______\(Enter Ross in grip of two Policemen.)

Ross: I was promised a permit. I lined a tour up on that! rj p RS’v,___ Policemen. This is a brutal, indecent, and immoral display. It is a public indecency) and it is forbidden here. Ross. What about them with their perfect cone heads? 59

16 THE ELEPHANT MAN Policemen. They are ours. Ross. Competition’s good for business. Where’s your spirit of competition? BP Policemen. Right here? (Smacks Merrick.) Ross. Don’t do that, you'll kill him! 3P prfkR* 'olicemen. Be better off dead) Indecent bastard. uR-^P1 Merrick. Don’t cry girls. Doesn’t hurt. ■e.X UC. Pins. Indecent?lindecent, indecent, indecent!! LQ li*

(Poucemen escort Merrick and Ross out, i.e., for ward. Blackout except spot on Merrick and Ross.

Merrick. Ostcnd will always mean bad memories. Won’t it, Ross? Ross. I’ve decided. I’m sending you back, lad. You’re a flop. No, you’re a liability. You ain’t the moneymaker I figured, so that’s it. Merrick. Alone? Ross. Here’s a few bob, have a nosh. I’m keeping the rest. For my trouble. I deserve it, I reckon. In vested enough with you. Pick up your stink if I stick around. Stink of failure. Stink of lost years. Just stink, C. *rfc OC g*p3 stink, stink, stink, stinky y______* OC. (Enter Conductor.) e,c Conductor. This the one? Ross. Just see him to Liverpool St. Station safe, will you? Here’s for your trouble.. Merrick. Robbed. Conductor. What’s he say? Ross. Just makes sounds. Fella’s an imbecile. Merrick. Robbed. 60

o » THE ELEPHANT MAN 17 of'rf\ Ross. Bon voyage, Johnny. His name is Johnny.

{2 c .1 He knows liis name, that's all, though.) Conductor. Don’t follovv1 liirn’, johnny. Johnny, come on boat now.lConductor find Johnny place out C o-riRT_____ of sight. Johnny 1 Johnny!'Don’t struggle, Johnny. Johnny come on. L<3ua Merrick. Robbed! Robbed 1 SQb Fadeout on struggle.

Scene 5

POLICE SIDE WITH IMBECILE AGAINST THE CROWD

Darkness. Uproar, shouts.

Voice. Liverpool St. Station!

(Enter Merrick, Conductor, Policeman.) LPent R

18 THE ELEPHANT MAN Merrick. Je-sus. Policeman. Don’t let rae go through your coat, I’ll turn you over to that lot! Oh, I was joking, don’t up set yourself. Merrick. Joke? Joke? Policeman. Sure, croak, croak, croak, croak. Merrick. Je-sus. Policeman. Got a card here. You Johnny Merrick? What’s this old card here, Johnny? Someone give you a card? Conductor. What’s it say? Policeman. Says Mr. Frederick Treves, Lecturer in Anatomy, the London Hospital. ^ y i------Conductor. I’ll go see if I can find him, it’s not far. Ce*^p\ {Exit*.) ------— . in C.ref»j< Policeman. What’s he do, lecture you on your dcC^eoSC iQb anatomy? People who think right don’t look like that then, do they? Yeah, glung glung, glung, glung. Merrick. Jesus. Jesus. Policeman. Sure, Treves, Treves, Treves, Treves.

as CoHDUOTon leads - inc rcc«e HPnTrtrrc? -Tn \ decre<»seS<5t» cot \ Treves. What is going on here? Look at that mob, have you no sense of decency. I am Frederick Treves. This is my card. Policeman. This poor wretch here had it. Arrived from Ostend. "Tk icj fA Treves. Good Lord, Merrick? John Merrick? What has happened to you? Merrick. Help me 11______h-O. t<\0 2, C*Llpe* **npt Fadeout.

S-cV-vjf Tc Sc cnn Op * oot-R. ^vev ^ » a s«-v >, \t. c.V n b rin

cloS*' CVn X ^ SiVTC- Op K Vt> ft. 62

THE ELEPHANT MAN 19 Scene 6

EVEN ON THE NIGER AND CEYLON, NOT THIS

The London Hospital. Merrick in bathtub. Treves . i c- outside. Enter Miss Sandwich. . _ . , T x -ho MS ______— LQ\(o

Treves. You are? Miss Sandwich? Sandwich. Sandwich. Yes. Treves. You have had experience in missionary hospitals in the Niger. Sandwich. And Ceylon. Treves. I may assume you’ve seen— Sandwich. The tropics. Oh those diseases. The many and the awful scourges our Lord sends, yes, sir. Treves. I need the help of an experienced nurse, you see. Sandwich. Someone to bring him food, take care of the room. Yes, I understand. But it is somehow difficult. Treves. Well, I have been let down so far. He really is—that is, the regular sisters—well, it is not part of their job and they will not do it. Be ordinarily kind to Mr. Merrick. Without—well—panicking. He is quite beyond ugly. You understand that? His appearance has terrified them. Sandwich. The photographs show a terrible disease. Treves. It is a disorder, not a disease; it is in no way contagious though we don’t in fact know what it is. I have found however that there is a deep super stition in those I’ve tried, they actually believe he somehow brought it on himself, this thing, and of course it is not that at all. 63

20 THE ELEPHANT MAN Sandwich. I am not one who believes it is ourselves who attain grace or bring chastisement to us, sir. Treves. Miss Sandwich, I am hoping not. Sandwich. Let me put your mind to rest. Care for lepers in the East, and you have cared, Mr. Treves. In Africa, I have seen dreadful scourges quite un known to our more civilized climes. What at home could be worse than a miserable and afflicted rotting black? Treves. I imagine. Sandwich. Appearances do not daunt me. T* ^ Dk fa Treves.i It is really that that has sent me outside the confines of the London seeking help. Sandwich. "I look unto the hills whence cometh my help.” I understand: I think I will be satisfactoryy t4 $ x p \\ ^ TEnter Porter with traWl

W erth op T* Porter. His lunch. (Exits.) G. eV b>*.cK Treves. Perhaps you would be so kind as to accom -ho NS pany me this time. I will introduce you. Sandwich. Allow me to carry the tray.j------— lAH Treves. I will this time. You are ready. Sandwich. I am. TiNs x. te Of n Treves. He is bathing to be rid of his odor. (They enter to Merrick.) John, this is Miss Sandwich. She— Sandwich^L^y (Unable to control hereself.) Oh my good God in heaven. (Bolts room.) Treves. (Puts Merrick’s lunch down.) I am sorry. I thought— Merrick. Thank you for saving the lunch this time. T / Vci ^6 .. . , ____Treves. Excuse me. f (tills to Miss SandwichT You have let me down, you know. I did everything to warn you and still you let me down. 64

THE ELEPHANT MAN 21 Sandwich. You didn’t say. Tueves. But I— Sandwich. Didn’t! You said—just words! Treves. But the photographs. . j Sandwich. Just pictures. No one will do this. I am J\)S X ^uL-1_sorryj (Exits.) 0 U op Treves. Yes. Well. This is not helping him._____ t'f Fadeout. fA Q.3>

Scene 7

THE ENGLISH PUBLIC WILL PAY FOR HIM TO BE LIKE US

The London Hospital. Merrick in a bathtub reading. 0 enfc Treves, Bishop How in foreground. t-G^o X’x fAecVStiRC. Bishop. With what fortitude he bears his cross! It is remarkable. He has made the acquaintance of reli gion and knows sections of the Bible by heart. Once I’d grasped his speech, it became clear he’d certainly had religious instruction at one time. Treves. I believe it was in the workhouse, Dr. How. Bishop. They are awfully good about that some times. The psalms he loves, and the book of Job per plexes him, he says, for he cannot see that a just God must cause suffering, as he puts it, merely then to be merciful. Yet that Christ will save him he does not doubt, so he is not resentful. G 4t\o->OP (Enter Gomm.) x |oU of B+* Gomm. Christ had better; be dammed if we can. Bishop. Ahem. In any case Dr. Treves, he has a 65

22 THE ELEPHANT MAN religious nature, further instruction would uplift him and I’d be pleased to provide it. I plan to speak of him from the pulpit this week. Gomm. I see our visiting bather has flushed the busy Bishop How from his cruciform lair. Bishop. Speak with Merrick, sir. I have spoken to him of Mercy and Justice. There’s a true Christian in the rough. ——iGomm. This makes my news seem banal, yet: £> *. +o Frederick, the response to my letter to the Times about Merrick has been staggering. The English pub lic has been so generous that Merrick may be sup ported for life without a penny spent from Hospital funds. Treves. But that is excellent. Bishop. God bless the English public. Gomm. Especially for not dismembering him at Liverpool St. Station. Freddie, the London’s no home for incurables, this is quite irregular, but for you I permit it—though god knows what you’ll do. T Pn ------Bishop. God docs know, sir, and Darwin does not. Gomm. He’d better, sir; he deformed him. Bishop. I had apprehensions coming here. I And it most fortunate Merrick is in the hands of Dr. Treves, a Christian, sir. Gomm. Freddie is a good man and a brilliant doc tor, and that is fortunate indeed. Tk in — Treves. I couldn’t have raised the funds though, Doctor. Bishop. Don’t let me keep you longer from your duties, Mr. Treves. Yet, Mr. Gomm, consider: is it science, sir, that motivates us when we transport Eng lish rule of law to India or Ireland? When good British churchmen leave hearth and home for mis sionary hardship in Africa, is it science that bears 66

THE ELEPHANT MAN 23 them away? Sir it is not. It is Christian duty. It is the obligation to bring our light and benefices to be nighted man. That motivates us, even as it motivates Treves toward Merrick, sir, to bring salvation where none is. Gordon was a Christian, sir, and died at Khartoum for it. Not for science, sir. Gomm. You’re telling me, not for science. Bishop. Mr. Treves, I’ll visit Merrick weekly if I may. r> Treves. You will be welcome, sir, I am certain. -Bishop Then good dav. s\ts.\(Exits.) Gomm. Well, Jesus my boy, now we have the TiG rntfmC- money, what do you plan for Merrick? vo Treves. Normality as far as is possible. GV-orn Vo- — Gomm. So he will be like us? Ah. (Smiles.) 60 Treves. Is something wrong, Mr. Gomm? With us? L^2*!

Fadeout. MQ4

(5 * 0 &V Scene 8 T^Dfyv- MERCY AND JUSTICE ELUDE OUR MINDS AND ACTIONS

Merrick in bath. Treves, Gomm.

Merrick. How long is as long as I like? Treves. You may stay for life. The funds exist. Merrick. Been reading this. About homes for the blind. Wouldn’t mind going to one when I have to move. Treves. But you do not have to move; and you’re not blind. 67

24 THE ELEPHANT MAN ^ ^ Vs/ ev^t op Meriuck. I would prefer it where no one stared at u 6+c. 4 t -p me. Gomm. No one will bother you here. S ^ ^ W Treves. Certainly not. I’ve given instructions.

Vv/ 4 S * (Porter and Snork peek in.) p e.e.pta Porter. What’d I tell you? Covers Snork. Gawd almighty. Oh. Mr. Treves. Mr. Gomm. Treves. You were told not to do this. I don’t under stand. You must not lurk about. Surely you have work. Porter. Yes, sir. Treves. Well, it is infuriating. When you are told a thing, you must listen. I won’t have you gaping in on my patients. Kindly remember that. Porter. Isn’t a patient, sir, is he? Treves. Do not let me find you here again. v/ fe S X S Porter. Didn’t know you were here, sir. We’ll be off G,V Gtc 4 now. Gomm. No, no, Will. Mr. Treves was precisely iS x. VoGI saying no one would intrude when you intruded. Treves. He is warned now. Merrick does not like it. Gomm. He was warned before. On what penalty, Will? Porter. That you’d sack me, sir. Gomm. You are sacked, Will. You, his friend, you work here? Snork. Just started last week, sir. Gomm. Well, I hope the point is taken now. Porter. Mr. Gomm—I ain’t truly sacked, am I? Gomm. Will, yes. Truly sacked. You will never be more truly sacked. Porter. It's not me. My wife ain’t well. My sister has got to take care of our kids, and of her. Well. Gomm. Think of them first next time. 68

THE ELEPHANT MAN 25 Porter. It ain’t as if I interfered with his medicine. Gomm. That is exactly what it is. You may go. Porter. Just keeping him to look at in private. _ . . . That’s all. Isn't it? <0 4- W Xo of l— 4-Viro op (Snork and Porter exit.)

Q, ■h/rr\out' Gomm. There are priorities, Frederick. The first is discipline. Smooth is the passage to the tight ship’s X i_> L master. Merrick, you are safe from prying now. oP- BP Treves. Have we nothing to say, John? Merrick. If all that’d stared at me'd been sacked— there’d be whole towns out of work. Treves. I meant, “Thank you, sir.” Merrick. “Thank you sir.” Treves. We always do say please and thank you, don’t we? Merrick. Yes, sir. Thank you. Treves. If we want to properly be like others. Merrick. Yes, sir, I want to. Treves. Then it is for our own good, is it not? f L 44*^ op t—Merrick. Yes, sir. Thank you, Mr. Gomm. ^ * , V-Gomm. Sir, you are welcomeJ (Exits.) '—------L.Q-z.2. TkBV. <^eA- —_Treves. You are happy here, are you not, John? Merrick. Yes. a cat- Treves. The baths have rid you of the odor, have TxOVoeovet-theyn0t? Merrick. First chance I had to bathe regular. Ly. T Sv ------____Treves. And three meals a day delivered to your ’ room? Merrick. Yes, sir. Treves. This is your Promised Land is it not? A roof. Food. Protection. Care. Is it not? Merrick. Right, Mr. Treves. Treves. I will bet you don’t know what to call this. 69

26 THE ELEPHANT MAN Merrick. No, sir, I don’t know. Treves. You call it, Home. Merrick. Never had a home before. Treves. You have one now. Say it, John: Home. Merrick. Home. Treves. No, no, really say it. I have a home. This is my. Go on. Merrick. I have a home. This is my home. This is my home. I have a home. As long as I like? Treves. That is what home is. Merrick. That is what is home. Treves. If I abide by the rules, I will be happy. Merrick. Yes, sir. Treves. Don’t be shy. Merrick. If I abide by the rules I will be happy. Treves. Very good. Why? Merrick. Why what? Treves. Will you be happy? Tx iW Merrick. Because it is ray home? — Treves. No, no. Why do rules make you happy? -f o u of 6t Merrick. I don’t know. Treves. Of course you do. Merrick. No, I really don’t. Treves. Why does anything make you happy? Merrick. Like what? Like what? Tc-ruuc-H^ -Treves. Don’t be upset. Rules make us happy be cause they are for our own good. Merrick. Okay. Treves. Don’t be shy, John. You can say it. Merrick. This is my home? Treves. No. About rules making us happy. Merrick. They make us happy because they are , , for our own good. ^ GcVffcfe.booh (Treves. Excellent.]Now: I am submitting a follow up paper on you to the London Pathological Society. 70

THE ELEPHANT MAN 27 T >< ba-ck^1 It would help if you told me what you recall about ^ c. your first years, John, To fill in gaps. Mehhick. To fill in gaps. The workhouse where they put me. They beat you there like a drum. Boom boom: scrape the floor white. Shine the pan, boom boom. It never ends. The floor is always dirty. The pan is always tarnished. There is nothing you can do about it. You are always attacked anyway. Boom boom. Boom boom. Boom boom. Will the children go to the workhouse? Treves. What children? Merrick. The children. The man he sacked. Treves. Of necessity. Will will find other employ ment. You don’t want crowds staring at you, do you? Merrick. No. I" Sbt>-*vd TaEVES.Un your own home you do not have to have crowds staring at you. Or anyone. Do you? In your home? Merrick. No. Treves. Then Mr. Gomm was merciful. You your self are proof. Is it not so? (Pause.) Well? Is it not so? Merrick. If your mercy is so cruel, what do you have for justice? —\TrevesjI am sorry. It is just the way things are. Merrick. Boom boom. Boom boom. Boom boom. •Ld) Tx-Nt.it- —I TT a-o'a\Vioo Fadeout. Gsive-M f\\cj!r\Tshirt |V\o ve- Grc ^ . . ki„y.L<-l Scene 9 * 0 assist- H ***** 5 A **/ enfc MOST IMPORTANT ARE WOMEN SeVBd e* uz/'QJr O We\p •'A ^ ^ Merrick asleep, head on knees. Treves, Mrs. Ken- dal foreground. 5tW*'0eX Rrrtf K ev^t OP sit* Sc- 71

28 THE ELEPHANT MAN Treves/~You have seen photographs of John Mer- rick, Mrs. Kendal. You are acquainted with his appearance. Mrs. Kendal. He reminds me of an audience I played Cleopatra for in Brighton once. All huge grim head and grimace and utterly unable to clap. Treves. Well. My aim’s to lead him to as normal a life as possible. His terror of us all comes from hav ing been held at arm’s length from society. I am de termined that shall end. For example, he loves to meet people and converse. I am determined he shall. For example, he had never seen the inside of any normal home before. I had him to mine, and what a reward, Mrs. Kendal; his astonishment, his joy at the most ordinary things. Most critical I feel, however, are women. I will explain. They have always shown the greatest fear and loathing of him. While he adores them of course. Mas. Kendal. Ah. He is intelligent. Treves. I am convinced they are the key to re trieving him from his exclusion. Though, I must warn you, women are not quite real to him—more creatures of his imagination. Mrs. Kendal. Then he is already like other men, Mr. Treves. Treves. So I thought, an actress could help. I mean, unlike most women, you won’t give in, you are trained to hide your true feelings and assume others. Mrs. Kendal. You mean unlike most women I am famous for it, that is really all. 'Tslay'i*^ —Treves. Well. In any case. If you could enter the o W room and smile and wish him good morning. And when you leave, shake his hand, the left one is usable, and really quite beautiful, and say, “I am very pleased to have made your acquaintance, Mr. Merrick.” 72

THE ELEPHANT MAN 29 k * u p Ref okUMrs. Kendal. Shall we try it? Left hand out please. -re. r (Suddenly radiant.) I am very pleased to have made K 1 y°ur niade your acquaintance Mr. Merrick.fi am very rAcwe pleased to have made your acquaintance Mr. Mer- k c_(. rick.|I am very pleased to have made your acquaint- ^ f anctTMr. Merrick./I am very pleased to have made ^ p Suie-c p-U ^our^acquaintance-*w Mr. Menjck/.Yes.,, —That one. fi -f- TuEVEsTByTuevesTBv god, they are~ill splendid. Merrick will _ be so pleased. It will be the day he becomes a man K x ^ V. like other men. Mbs. Kendal. Speaking of that, Mr. Treves. Treves. Frederick, please. 0 f&T —______Mrs Kendal. Jreddie, |mav I commit an indis cretion? Treves. Yes? Mrs. Kendal. I could not but help noticing from the photographs that—well—of the unafflicted parts— ah, how shall I put it? (Points to photograph.) Treves. Oh. I see! I quite. Understand. No, no, no, it is quite normal. Mas. Kendal. I thought as much. Treves. Medically speaking, uhm, you see the papillomatous extrusions which disfigure him, uhm, seem to correspond quite regularly to the osseous de formities, that is, excuse me, there is a link between the bone disorder and the skin growths, though for the life of me I have not discovered what it is or why it is, but in any case this—part—it would be therefore un likely to be afflicted because well, that is, well, there’s no bone in it. None in it. None at all. I mean. Mrs. Kendal. Well. Learn a little every day don’t we? "Ttn -V Tc —XrevesJI am horribly embarrassed. Mrs. Kendal. Are you? Then he must^be lonely indeed. Fadeout.

Q ^ S er\t u/tAt-4 fAVc v< X -W chn fAx V-o MV S>V Mvc. 73

30 THE ELEPHANT MAN Scene 10

WHEN THE ILLUSION ENDS HE MUST KILL HIMSELF

Mehhick sketching. Enter Treves, Mbs. Kendal.

Treves. )He is making sketches for a model of St. ^ “f"4 K X jo Phillip's church./He wants someday to make a model, k a? Bd yousee. John, my boy, this is Mrs. Kendal. She would very much like to make your acquaintance. 1A x R po^T------Mrs. Kendal. Good morning Mr. Merrick. j.fool-oC BA Treves. I will see to a few matters. I will be back

T* ooV U _80onj(Exi

THE ELEPHANT MAN 31 Mrs. Kendal. I am not unknown. Merrick. You must display yourself for your living then. Like I did. —Mbs. Kendal. /That is not myself, Mr. Merrick. e. That is an illusion. This is myself. Merrick. This is myself too. Mrs. Kendal. Frederick says you like to read. So: books. Merrick. I am reading Romeo and Juliet now. -^Mrs. Kendal. | Ah. Juliet. What a love story. I b oa K X Q adore lovestdries. Merrick. I like love stories best too. If I had been Romeo, guess what. Mrs. Kendal. What? Merrick. I would not have held the mirror to her breath. Mrs. Kendal. You mean the scene where Juliet ap pears to be dead and he holds a mirror to her breath and sees— Merrick. Nothing. How does it feel when he kills himself because he just sees nothing? KX K\ ~\_Mrs. Kendal. iWell. My experience as Juliet has been—particularly with an actor I will not name— that while I’m laying there dead dead dead, and he is lamenting excessively, I get to thinking that if this slab of ham does not part from the hamhock of his life toute suite, I am going to scream, pop off the tomb, and plunge a dagger into his scene-stealing heart. Romeos are very undependable. Merrick. Because he does not care for Juliet. Mrs. Kendal. Not care? Merrick. Does he take her pulse? Does he get a doctor? Does he make sure? No. He kills himself. The illusion fools him because he does not care for her. 75

32 THE ELEPHANT MAN He only cares for himself. If I had been Romeo, we would have got away. Mus. Kendal. But then there would be no play, Mr. Merrick. Merrick. If he did not love her, why should there be a play? Looking in a mirror and seeing nothing. That is not love. It was an illusion. When the illusion ended he had to kill himself. Mrs. Kendal. Why. That is extraordinary. Merrick. Before I spoke with people, I did not think of all these things because there was no one to bother to think them for. Now things just come out of my mouth which are true.

(Treves enters.)

Ten^- —> Treves. You are famous; John. We are in the * l- c>? papers. Look. They have written up my report to the Pathological Society. Look—it is a kind of apotheosis for you. K V •—-—^ Mrs. Kendal. (Frederick, I feel Mr. Merrick would benefit by even more company than you provide; in fact by being acquainted with then best, and they with him. I shall make it my task if you’ll permit. As you know, I am a friend of nearly everyone, and I do pretty well as I please and what pleases me is this task, I think. Treves. By god, Mrs. Kendal, you are splendid. ^ Wo ------Mrs. KENPAL.\Mr. Merrick I must go now. I should like to return if I may. And so that we may without delay teach you about society, I would like to bring my good friend Dorothy Lady Neville. She would be most pleased if she could meet you. Let me tell her yes? (Merrick nods yes.) Then until next time. I’m sure your church model will surprise us all. Mr. Mer* 76

THE ELEPHANT MAN 33 rick, it has been a very great pleasure to make your K 'c_v.v-c.^4'K c».r>a acquaintance. Tkeves. John. Your hand. She wishes to shake your hand. * Vt>V^ Merrick. Thank you for coming. h'^Mas. Kendal. But it was my pleasure. Thank you. K"* V.------(Exits, accompanied by Treves.) Treves. What a wonderful success. Do you know C.V i he’s never shook a woman’s hand before?

As lights Jade Merrick sobs soundlessly, uncontrol lably. ___ LQ71 K ex NtSTl T x "UtV Scene 11

HE DOES IT WITH JUST ONE HAND

Music. Merrick working on model of St. Phillip’s

All Ward church. Enter Duchess. At side Treves ticks off -te~r a gift list. o Merrick. Your grace. 4-§3 —I Duchess. How nicely the model is coming along, x Vt> BA" Mr. Merrick. I’ve come to say Happy Christmas, and that I hope you will enjoy this ring and remember your friend by it. Merrick. Your grace, thank you. Duchess. I am very pleased to have made your acquaintance. (Exits.) dv e*P 4ofkro Pr OP (Enter Countess.)

Countess. Please accept these silver-backed brushes and comb for Christmas, Mr. Merrick. 77

34 THE ELEPHANT MAN Merrick. With many thanks, Countess. C £ Countess. I am very pleased to have made your L acquaintance. I (Exits.)

(Enter Lord John.)

LT fo»Vof Merrick. Make you a regular Piccadilly exquisite. Keep up the good work. Self-help is the best help. Example to us all. Merrick. Thank you, Lord John. Lord John. Very pleased to have made your ac- LX ex L quaintance.) (Eiils.) VV«xi o P (Enter Treves and Princess Alexandra.)

fc e.nV-'JC Treves. Her Royal Highness Princess Alexandra.

>. "0 CL Princess. The happiest of Christmases, Mr. Merrick. Treves. Her Royal Highness has brought you a signed photograph of herself. Merrick. I am honored, your Royal Highness. It is the treasure of ray possessions. I have written to His Royal Highness the Prince of Wales to thank him for the pheasants and woodcock he sent. Princess You are a credit to Mr. Treves, Mr. Mer rick. Mr. Treves, you are a credit to medicine, to England, and to Christendom. I am so very pleased P C. «_> C to have made your acquaintance^ ______o Vc*. (Princess, Treves exit. Enter Mrs. Kendal.)

oP Mrs. Kendal. Good news, John, Bertie says we * c may use the Royal Box whenever I like. Mrs. Keppel 78

THE ELEPHANT MAN 35 says it gives a unique perspective. And for Christmas, ivory-handled razors and toothbrush.

(Enter Treves.)

Treves. And a cigarette case, my boy, full of

cigarettes 1 Merrick. Thank you. Very much. Kx T __Mrs. Kendal. LookiFreddie, look. The model of St. PhTliT^s: “ Treves. It is remarkable, I know. Merrick. And I do it with just one hand, they all say. Mrs. Kendal. jYou are an artist, John Merrick, an K* -VoUA artist. Merrick. I did not begin to build at first. Not till I saw what St. Phillip's really was. It is not stone and steel and glass; it is an imitation of grace flying up and up from the mud. So I make my imitation of an imitation. But even in that is heaven to me, Mrs. Kendal. —Treves. /That thought’s got a good line, John. Plato T * believed this was all a world of illusion and that VC>t -Vo U.IA artists made illusions of illusions of heaven. Merrick. You mean we are all just copies? Of originals? Treves. That’s it. Merrick. Who made the copies? Treves. God. The Demi-urge. Merrick. (Goes back to work.) He should have

used both handstlKduTdh’t he?------Lq 3^

Music. Puts another piece on St. Phillip’s. Fadeout. 79

36 THE ELEPHANT MAN Scene 12 t?* \r% \ _ . WHO DOES HE REMIND PTx l(\ Pr3 YOU OF? (j *■ irv be\rv»rvA Pr H Treves, Mrs. Kendal.

Treves. Why all those toilet articles, tell me? He is much too deformed to use any of them; Mrs. Kendal. Props of course. To make himself. As I make me. Treves. You? You think of yourself.______— —Mrs. Kendal. Well, i He is gentle, l almost" feminine.^ ^ Ky PUC Cheerful,-Tionest within limits, a serious artist in his V\ cx. IKro o9 way. He is almostpke me.______UQ 33

(Enter Bishop How.)

Bishop. He is religious and devout. He knows sal vation must radiate to us or all is lost, which it’s ^certainly not.______

(Enter Gomm.)

Gomm. He seems practical, like me. He has seen enough of daily evil to be thankful for small goods that come his way. He knows what side his bread is buttered on, and counts his blessings\for it. Like me. ^

(Enter Duchess.)

Duchess. I can speak with him of anything. For I know he is)discreet. Like me.______L.Q3G . (All exit except Treves.) D r ev R Lr X lr\beK\y\el vvj Kx in t> einund Pi-Z. Pc. K

THE ELEPHANT MAN 37 Treves. How odd. I think him curious, compassion ate, concerned about the world, well, rather like my self,jFred^Jt^eveSj^^______.^Q 1 (Enter Mrs. Kendal.)

Mrs. Kendal. Of course he is rather odd. And hurt. And helpless not to show the [struggling. And so am I.

(Enter Gomu.)

Gomm. He knows I use him to raise money for the London, I am certain. He understands I would be derelict if I didn’t. He is wary of any promise,(yet he \_^-aq fits in well. Like me.

(Enter Bishop How.)

Bishop. I as a seminarist had many of the same doubts. Struggled as he does. And hooelthey may be overcome. LGmo

(Enter Princess Alexandra.)

Princess. When my husband His Royal Highness Edward Prince of Wales asked Dr. Treves to be his personal surgeon, he said, “Dear Freddie, if you can put up with the Elephant bloke,(you can surely put i up with me.” I

(All exit, except Treves. Enter Lord John.)

Lord John. See him out of fashion, Freddie. As he sees me. Social contacts critical. Oh—by the way— ignore the bloody papers; ^11 lies.| (Exits.) , _, „ S2, £ {•o-Ac v\on 81

38 THE ELEPHANT MAN Treves. Merrick visibly worse than 86-87. That, as he rises higher in the consolations of society, he gets visibly more grotesque is proof definitive he is like me. Like his condition, which I make no sense of, 1 make no sense of mine.l------

Spot on Merrick placing another piece on St. Phil lip’s. Fadeout. uqmH TP.MvKrrvo^ C)*»o-VKcuOP m H\- Op . .John outside. oP tilA ^Treves. But the papers are saying you broke the Lam M s i\-oa ed contracts. They are saying you’ve lost the money. Lord John. Freddie, if I were such a scoundrel, how would I dare face investors like yourself. Broken contracts! I never considered.them actual contracts— just preliminary things, get the old deal under way. An actual contract's something between gentlemen; and this attack on me shows they are no gentlemen. Now I'm only here to say the company remains a terribly attractive proposition. Don’t you think? To recapitalize—if you could spare another—ah. (Enter trv'b Gomm.) Mr. Gomm. How good to see you. Just re marking how splendidly Merrick thrives here, thanks to you and Freddie. Gomm. Lord John. Allow me: I must take Frederick from you. Keep him at work. It’s in his contract. +o L1 Wouldn’t want him breaking it.iSort of thing makes the world fly apart, isn’t it? 82

THE ELEPHANT MAN 39 Lord John. Yes. Well. Of course, romm. f<\ x Gomm. Sorry to hear you’re so pressed.[Expect we’ll see less of you around the London now? LTxO lord John. Of course, I, actually—ah! Overdue actually. Appointment in the City. Freddie. Mr. G xko9t>^Gomm. (JJxifs.) 1------—------—------VaO R Treves. He plain fooled me. He was kind to Mer rick. Gomm. You have risen fast and easily, my boy. You’ve forgot how to protect yourself. Break now. Treves. It does not seem right somehow. Q x ' *> Gomm. The man’s a moral swamp ils that not clear yet? Is he attractive? Deceit often is. Friendly? Swindlers can be. Another loan? Not another cent. It may be your money, Freddie; but I will not tolerate laboring like a navvy that the London should represent honest charitable and compassionate science, and G* Pi ------have titled swindlers mucking up the pitch.j He has T counter succeeded in destroying himselt so rabidly, you ought not doubt an instant it was his real aim all along. He broke the contracts, gambled the money away, lied, and like an infant in his mess, gurgles and wants to do it again. Never mind details, don’t want to know. Break and be glad. Don’t hesitate. Today. One-man moral swamp. Don’t be sucked in.

Ker^tU Ols (Enter Mrs. Kendal.)

Mrs. Kendal. Have you seen the papers? Treves. Yes. G „___ Gomm. Yes, yes. A great pity. Freddie: today.) ex (Exits.) " ~ Mrs. Kendal. Freddie?______—------A o.qq Tx ** TREVEsIHe hasTused usjl shall be all right.lCome. . CW' (Mrs. Kendal, Treves enter to Merrick.) John: I Q 83

40 THE ELEPHANT MAN nr^ Bd shall not be able to stay this visit. I must, well, un ravel a few things. Nurse Ireland and Snork are—? Tv "Vo tA--- Meiuuck. Friendly and repeetful Frederick. . TrevesjI’ll look in in a few days. Tv Merrick. Did I do something wrong? Mrs. Kendal. No. Treves. This I is a hospital. Not a marketplace. Ty ---- Don’t forget it, ever. Sorry Not you. Me. I(Exits.) 'T e_^ £ ^P ^ Mrs. Kendal. Well. Shall we weave today? Don’t i you think weaving might be fun? So many things are K, K po 6W.' fun. Most men really can’t enjoy them. Their loss, isn’t it? I like little activities which engage me; there’s something ancient in it. I don’t know. Before Kv ^o iv|_ all this. Would you like to trv?iJohn? Merrick. Frederick said I may stay here for life. Mrs. Kendal. And so you shall. Merrick. If he is in trouble? Mrs. Kendal. Frederick is your protector, John. Merrick. If he is in trouble? (He picks up small iphotograph.)___ X o-ko'l C fd_ Mus. Kendal^ Who is that? Ah, is it not your mother? She is pretty, isn’t she? Merrick. Will Frederick keep his word with me, his contract, Mrs. Kendal? If he is in trouble. Mrs. Kendal. What? Contract? Did you say? Merrick. And will you? Mrs. Kendal. I? What? Will I? M Cl, m

C't'C Merrick silent. Puts another piece on model. Fadeout.

Scene 14

ART IS PERMITTED BUT NATURE FORBIDDEN

Rain. Merrick working. Mrs. Kendal. 84

THE ELEPHANT MAN 41 K Chernov* Merrick. The Prince has a mistress. (Silence.) The oAo-sses & B&Hle. Irishman had one. Everyone seems to. Or a wife. Some have both. I have concluded I need a mistress. It is bad enough not to sleep like others. Mrs. Kendal. Sitting up, you mean. Couldn’t be very restful. Merrick. I have to. Too heavy to lay down. My head. But to sleep alone; that is worst of all. KxC —Mrs. KENDAL-jThe artist expresses his love through his works. Thatls civilization. Merrick. Are you very shocked? Mrs. Kendal. Why should I be? ppjcjvc. Merrick. Others would be. —^1— Mrs. Kendal.II am not others. Merrick. I suppose it is hopeless. Mrs. Kendal. Nothing is hopeless. However it is unlikely. Merrick. I thought you might have a few ideas. fAcCsiV Mrs. Kendal. I can guess who has ideas here.____ ------MERRicK.rVou don’t know something. I have never even seen a naked woman. Mrs. Kendal. Surely in all the fairs you worked. Merrick. I mean a real woman. Mrs. Kendal. Is one more real than another? Merrick. I mean like the ones in the theater. The opera. Mrs. Kendal. Surely you can’t mean they are more real. Merrick. In the audience. A woman not worn out early. Not deformed by awful life. A lady. Someone kept up. Respectful of herself. You don't know what fairgrounds are like, Mrs. Kendal. Mrs. Kendal. You mean someone like Princess Alexandra? Merrick. Not so old. Mrs. Kendal. Ah. Like Dorothy. 85

42 THE ELEPHANT MAN Merrick. She does not look happy. No. Mrs. Kendal. Lady Ellen? Meiuuck. Too thin. Mrs. Kendal. Then who? Merrick. Certain women. They have a kind of ripeness. They seem to stop at a perfect point. Mrs. Kendal. My dear she doesn’t exist. Merrick. That is probably why I never saw her. Mrs. Kendal. What would your friend Bishop How say of all this I wonder? Merrick. He says I should put these things out of my mind. Mrs. Kendal. It that the best he can suggest? Merrick. I put them out of my mind. They reap peared, snap. Mrs. Kendal. What about Frederick? Merrick. He would be appalled if I told him. Mrs. Kendal. I am flattered. Too little trust has maimed my life. But that is another story. \a/ *k-'ljiiERRicK. EWhal Are we going to read this afternoon? Kx PL— Mrs. Kendal./Yes. Some women are lucky to look well, that is all. It is a rather arbitrary gift; it has no really good use, though it has uses, I will say that. Anyway it does not signify very much. Merrick. To me it does. Mrs. Kendal. Well. You are mistaken. Merrick. What are we going to read? Mrs. Kendal. Trust is very important you know. I

\vv'

THE ELEPHANT MAN 43

Merrick. Is this a game? K r* e.cf'cV?' ___Mrs^KekpalJ I would not call it a game. A sur j a.ck.<£ r prise. (She begins undressing.) Merrick. What kind of a surprise? Mrs. Kendal. 1 saw photographs of you. Before I Kx pc 1 O met you. You didn’t know that, did you? Merrick. The ones from the first time, in ’84? No, I didn’t. Mrs. Kendal. I felt it was—unjust. I don’t know why. I cannot say my sense of justice is my most highly developed characteristic. You may turn around again. Well. A little funny, isn’t it? \v\ si ^ Merrick. It is the most beautiful sight I have seen. ^ Ever. _ Mrs. Kendal. )If you tell anyone, I shall not see K.(vrti you again, we shall not read, we shall not talk, we shall do nothing. Wait. (Undoes her hair.) There. No illusions. Now. Well? What is there to say? “I am extremely pleased to have made your acquaintance?"

(Enter Treves.)

"Tx in ^Treves. For God’s sakes. What is going on here? What is going on? Mrs. Kendal. For a moment, Paradise, Freddie. (She begins dressing.) Treves. But—have you no sense of decency? t-Woman, dress yourself quickly. | (Silence. Merrick goes to put another piece on St. Phillip’s.) Are you W* not ashamed?jDo you know what you are? Don’t you know whatlsforbidden? ------—------•UC^.S'3

si IA VMI vv»d'for Fadeout. 87

44 THE ELEPHANT MAN Scene 15

INGRATITUDE

Ross in Merrick’s room. Rs,^OP t?_ ^ biloss. I come actually to ask your forgiveness. I— Merrick. I found a good home, Ross. I forgave you. Ross. I was hoping we could work out a deal. Some Rsx c thing new maybe. Merrick. No. Ross. See, I was counting on it. That you were kind-hearted. Like myself. Some things don’t change. __ l Got to put your money on the things that don’t, I X U figure. I figure from what I read about you, you don’t change. Dukes, Ladies coming to see you. Ask myself why? Figure it’s same as always was. Makes ’em feel good about themselves by comparison. Them things don’t change. There but for the grace of. So I figure you’re selling the same service as always. To better .__clientele. Difference now is you ain’t charging for it. \N/\ St"cio ten percent. xL Merrick. Bad luck’s made you daft. 88

THE ELEPHANT MAN 45 Ross. I helped you, John. Discovered you. Was that daft? No. Only daftness was being at a goldmine sy D C. without a shovel. Without proper connections. Like Treves has. What’s daft? Ross sows, Treves harvests? It’s not fair, is it John? When you think about it. I do think about it. Because I'm old. Got something in ____(my throat. You may have noticed. Something in my 1^: S v lung here too. Something in my belly I guess too. I’m V not a heap of health, am I? But I’d do well with ten percent. I don’t need more than ten percent. Ten percent’d give me a future slightly better’n a cobble stone. This lot would pay, if you charged in the right spirit. I don’t ask much. lvl V > r\ IMebkick. They’re the cream, Ross. They know it. Man like you tries to make them pay, they’ll walk away. Ross. I’m talking about doing it in the right spirit. Merrick. They are my friends. I’d lose everything. For you. Ross, you lived your life. You robbed me of forty-eight pounds nine shillings, tuppence. You left me to die. Be satisfied Ross. You've had enough. You kept me like an animal in darkness. You come back and want to rob me again. Will you not be satisfied? Now I am a man like others, you want me to return? Ross. Had a woman yet? fAtorn ooY ----- IMerrick. Is that what makes a man? Ross. In my time it’d do for a start. Merrick. Not what makes this one. jYet I am like others. Ross. Then I’m condemned. I got no energy to try nothing new. I may well go to the dosshouse straight. Die there anyway. Between filthy dosshouse rags. Nothing in the belly but acid. I don’t like pain, John. The future gives pain sense. Without a futurejh- (Pauses.) Five percent? John? 89

46 THE ELEPHANT MAN

Merrick. I’m sorry, Ross. It’s just the way things are. evOPL Ross. By god. Then I am lost.] IZ Fadeout.

|V\x ^ bvt I'AV 04-T k vo naoe f\c. be Scene' 16 T s.t-AC. NO RELIABLE GENERAL ANESTHETIC HAS APPEARED YET

Treves, reading, makes notes. Merrick works.

^Merrick. Frederick—do you believe in heaven? Hell? What about Christ? What about God? I be lieve in heaven. The Bible promises in heaven the crooked shall be made straight. Treves. So did the rack, my boy. So do we all. Meiuuck. You don’t believe? Treves. I will settle for a reliable general anesthetic at this point. Actually, though—I had a patient once. A woman. Operated on her for—a woman's thing. Used ether to anesthetize. Tricky stuff. Didn’t come out of it. Pulse stopped, no vital signs, absolutely moribund. Just a big white dead mackerel. Five min utes later, she fretted back to existence, like a lost explorer with a great scoop of the undiscovered. Merrick. She saw heaven? Treves. Well. I quote her: it was neither heavenly nor hellish. Rather like perambulating in a London fog. People drifted by, but no one spoke. London, mind you. Hell’s probably the provinces. She was 90

THE ELEPHANT MAN 47 shocked it wasn’t more exotic. But allowed as how had she stayed, and got used to the familiar, so to speak, it did have hints of becoming a kind of bliss. She fled. Merrick. If you do not believe—why did you send Mrs. Kendal away? Treves. Don’t forget. It saved you once. My inter ference. You know well enough—it was not proper. Merrick. How can you tell? If you do not believe? Treves. There are still standards we abide by. Merrick. They make us happy because they are for our own good. Treves. Well. Not always. Merrick. Oh. Treves. Look, if you are angry, just say so. Merrick. Whose standards are they? Treves. I am not in the mood for this chipping away at the edges, John. Merrick. That do not always make us happy be cause they are not always for our own good? Treves. Everyone’s. Well. Mine. Everyone’s. Merrick. That woman's, that Juliet? Treves. Juliet? Merrick. Who died, then came back. Treves. Oh. I see. Yes. Her standards too. Merrick. So. Treves. So what? Merrick. Did you see her? Naked? Treves. When I was operating. Of course— Merrick. Oh. Treves. Oh what? Merrick. Is it okay to see them naked if you cut them up afterwards? Treves. Good Lord. I’m a surgeon. That is science. Merrick. She died. Mrs. Kendal didn't. Treves. Well, she came back too. 91

48 THE ELEPHANT MAN

Merrick. And Mrs. Kendal didn’t. If you mean that. Treves. I am trying to read about anesthetics. There is simply no comparison. Merrick. Oh. Treves. Science is a different thing. This woman came to me to be. I mean, it is not, well, love, you know. Merrick. Is that w’hy you’re looking for an anesthetic. Treves. It would be a boon to surgery. Merrick. Because you don’t love them. Tx u*-- Treves. (Love’s got nothing to do with surgery. __ Merrick. Do you lose many patients? I stop 4 't'LK'r>''Treves. I—some. Merrick. Oh. Treves. Oh what? What does it matter? Don’t you see? If I love, if any surgeon loves her or any patient T y 1° 11K or not, what does it mattcr?|And what conceivable difference to you? Merrick. Because it is your standards we abide by. Treves. For God’s sakes. If you are angry just say it. I won’t turn you out. Say it: lam angry. Go on. I am angry. I am angry! I am angry! Merrick. I believe in heaven. Tx HM . ITreves. And it is not okay. If they undress if you cut them up As you nut it. I Make me sound like Jack T x the, Jack the Ripper. ot>pe>v> Merrick. No. You worry about anesthetics. Treves. Are you having me on? Merrick. You are merciful. I myself am proof. Is it not so? (Pauses.) Well? Is it not so? Treves. Well I. About Mrs. Kendal—perhaps I was Tx t-°AC______wrongl I, these days that is, I seem to. Lose my head. ‘ Taking too much on perhaps. I do not know—what is in me these days. 92

THE ELEPHANT MAN 49 Merrick. Will she come back? Mrs. Kendal? Treves. I will talk to her again. Merrick. But—will she? Treves. No. I don’t think so. Merrick. Oh. Treves. There are other things involved. Very. That is. Other things. IVl Merrick. Welft Other things. I want to walk now/ X Think. Other things. (Begins to exit. Patises.) Why? K mP ^ ^AWhy won’t she?KSt7ence. Merrick exits.) ba.cV' / Treves. Because I don’t want her here when you ) die. (He slumps in chair.)______—

Fadeout. KO.V3 ~x ^lecp vn/^c

Scene 17

Treves asleep in chair dreams the following: Mer rick and Gomm dressed as Ross in foreground. ,------;------LOi'YA Merrick.*If he is merely papier raach6 and paint, a swindler and a fake— Gomm. No, no, a genuine Dorset dreamer in a moral swamp. Look—he has so forgot how to protect him self he’s gone to sleep. Merrick. I must examine him. I would not keep him for long, Mr. Gomm. Gomm. It would be an inconvenience, Mr. Merrick. He is a mainstay of our institution. Merrick. Exactly that brought him to my atten tion. I am Merrick. Here is my card. I am with the mutations cross the road. 93

50 THE ELEPHANT MAN Gomm. Frederick, stand up. You must understand. He is very very valuable. \Ve have invested a great deal in him. He is personal surgeon to the Prince of Wales. Merrick. But I only wish to examine him. I had not of course dreamed of changing him. Gomm. But he is a gentleman and a good man. Merrick. Therefore exemplary for study as a cruel or deviant one would not be. Gomm. Oh very well. Have him back for breakfast T~ 5,-fa.rdtime or you feed him. Frederick, stand up. Up you

Goc p~?3lb]oodzipnkey, up! t~

Treves, still asleep, stands up. Fadeout.

T Si'V Scene 18 fA v WE ARE DEALING WITH AN EPIDEMIC

Treves asleep. Merrick at lecturn.

Merrick. The most striking feature about him, note, is the terrifying normal head. This allowed him to lie down normally, and therefore to dream in the exclusive personal manner, without the weight of others’ dreams accumulating to break his neck. From the brow projected a normal vision of benevolent en lightenment, what we believe to be a kind of self- mesmerized state. The mouth, deformed by satisfac tion at being at the hub of the best of existent worlds, was rendered therefore utterly incapable of self- critical speech, thus of the ability to change. The heart showed signs of worry at this unchanging yet 94

THE ELEPHANT MAN 51 untenable state. The back was horribly stiff from be ing kept against a wall to face the discontent of a world ordered for his convenience, ^The surgeon’s hands were well-developedand strong, capable of the most delicate carvings-up, for others’ own good. Due also to the normal head, the right arm was of enor mous power; but, so incapable of the distinction be tween the assertion of authority and the charitable act of giving, that it was often to be found disgust ingly beating others—for their own good. The left arm was slighter and fairer, and may be seen in typi cal position, hand covering the genitals which were treated as a sullen colony in constant need of restric- • i U. ^0n’ £overnance> punishment. For their own good. To ' ' ^---- add a further burden to his trouble the wretched man when a boy developed a disabling spiritual duality, therefore was unable to feel what others feel, nor reach harmony with them. Please. (Treves shrugs.) He would thus be denied all means of escape from those he had tormented. 1 ------

(-Pina enter.)

First Pin. Mr. Merrick. You have shown a pro found and unknown disorder to us. You have said when he leaves here, it is for his prior life again. I do not think it ought to be permitted. It is a disgrace. It is a pity and a disgrace. It is an indecency in fact. It may be a danger in ways we do not know. Something ought to be done about it. Merrick. We hope in twenty years we will under stand enough to put an end to this affliction. ( “ First. Pin. Twenty years! Sir, that is unacceptable! Merrick. Had we caught it early, it might have been different. But his condition has already spread 95

52 THE ELEPHANT MAN both East and West. The truth is, I am afraid, we are , dealing with an epidemic.r . ----- VH , NminciLputs.aiMLh£i-pia:c.QiL£LjPhillip’s\ Prs^exit. * ^4kV Treves starts awakeXFadeout '

_ . „ Scene 19 e.wV X Vo THEY CANNOT MAKE OUT SAk V$> WHAT HE IS SAYING t> v\" a'o rioo<~ Merrick, Bishop How in background. Bishop ges- ___ tures, Merrick on knees. Treves foreground. Enter Gomm. LffZ Q, Cn tvi— ------O P 1i— G----omm. Still- beavering“ away~ for Christ? L-Xji Treves. Yes. Gomm. I got your report. He doesn’t know, does he? Treves. The Bishop? Gomm. I meant Merrick. Treves. No. Gomm. I shall be sorry when he dies. Treves. It will not be unexpected anyway. Gomm. He’s brought the hospital quite a lot of good repute. Quite a lot of contributions too, for that mat ter. In fact, I like him; never regretted letting him stay on. Though I didn’t imagine he’d last this long. Treves. His heart won’t sustain him much longer. It may even give out when he gets off his bloody knees with that bloody man. Gomm. What is it, Freddie? What has gone sour for you? Treves. It is just—it is the overarc of things, quite inescapable that he’s achieved greater and greater 96

THE ELEPHANT MAN 53 normality, his condition’s edged him closer to the y t>L ______gravc.tSo—a parable of growing up? To become more normal is to die? More accepted to worsen? He—it is just a mockery of everything we live by. Gomm. Sorry Freddie. Didn’t catch that one. Vt»T Treves. Nothing has gone sour. I do not know. ~AGomm. Cheer up, man. You are knighted. Your clients will be kings. Nothing succeeds my boy like G,* 0 4Dot success^(Exits.)

(Bishop comes from Merrick’s room.)

B v Vo "D ¥* Bishop. I find my sessions with him utterly moving, Mr. Treves. He struggles so. I suggested he might like to be confirmed; he leaped at it like a man lost in a desert to an oasis. Treves. He is very excited to do what others do if he thinks it is what others do. Bishop. Do you cast doubt, sir, on his faith? Treves. No, sir, I do not. Yet he makes all of us think he is deeply like ourselves. And yet we’re not like each other. I conclude that we have polished him like a mirror, and shout hallelujah when he reflects us ~T" x U of D _to the inch/1 have grown sorry for it. Bishop. I cannot make out what you’re saying. Is something troubling you, Mr. Treves? __Treves. Corsets. How’ about corsets? 1 Here is a T*. — pamphlet I’ve written due mostly to the grotesque ailments I’ve seen caused by corsets. Fashion overrules me, of course. My patients do not unstrap themselves of corsets. Some cannot—you know,ri have so little LG(o^ time in the week, I spend Sundays in the poor-wards; to keep up with work. Work being twenty-year-old women who look an abused fifty with worn-outed- ness; young men with appalling industrial conditions 97

54 THE ELEPHANT MAN I turn out as soon as possible to return to their labors. Happily most of my patients are not poor. They are middle class. They overeat and drink so grossly, they destroy nature in themselves and all around them so fervidly, they will not last. Higher up, sir, above this middle class, I confront these same—deformities— bulged out by unlimited resources and the ruthlessness of privilege into the most scandalous dissipation yoked to the grossest ignorance and constraint. I counsel against it where I can. I am ignored of course. Then, what, sir, could be troubling me? I am an extremely successful Englishman in a successful and respected England which informs me daily by the way it lives that it wants to die. I am in despair in fact. Science, observation, practice, deduction, having led me to Tx DK these conclusions, can no longer serve as consolation. T apparently see things others don’t. Bishop. I do wish I understand you better, sir. But as for consolation, there is in Christ’s church con solation. Tbeves. I am sure we were not born for mere consolation. Bishop. But look at Mr. Merrick’s happy example. Tbeves. Oh yes. You’d like my garden too. My dog, my wife, my daughter, pruned, cropped, pollarded and somewhat stupefied. Very happy examples, all of them. Well. Is it all we know how to finally do with— Ts.Uc- .whatever?!Nature? Is it? Rob it? No, not really, not nature I mean. Ourselves really. Myself really. Robbed, that is. You do see of course, can’t figure out, really, what else to do with them. Can we? (Laughs.) Bishop. It is not exactly clear, sir. Tbeves. I am an awfully good gardener. Is that clear? By god I take such good care of anything, any thing you, we, are convinced—are you not convinced, 98

THE ELEPHANT MAN 55 him I mean, is not very dangerously human? I mean how could he be? After what we’ve given him? What „ you like, sir, is that he is so grateful for patrons, so J ^-greedy to be patronized J and no demands, no rights, no hopes; past perverted, present false, future nil. What better could you ask? He puts up with all of it. Of course I do mean taken when I say given, as in

Tx +10 B> what, what, what we have given himl but. You knew I’ll bet. Because. 1.1.1. T'e^..!ipk^~~BiSHOP. Do you mean Charity?]I cannot tell what ou are saying, Bv -BT uf-XgEVEsJHelp me J( Weeps.) ■\J5lU3N

(Bishop consoles him.)

Merrick. (Rises, puts last piece on St. Phillip’s.) It is done. 1 MQ\S* Fadeout. 4 X O M oo H* Vo 'tixvVo? £>» V- Scene 20

THE WEIGHT OF DREAMS

Merrick alone, looking at model. Enter Snork with lunch.

STn Snork! Lunch, Mr. Merrick. I’ll set it up. Maybe . ,, ypjjklJtke a walk after, lunrhjApril’s doing wonders gardens. (A funeral procession passes slowly by.) My mate Will, his sister died yesterday. Twenty- eight she was. Imagine that. Wife was sick, his sister nursed her. Was a real bloom that girl. Now wife okay, sister just ups and dies. It’s all so—what’s 99

5G THE ELEPHANT MAN that word? Forgot it. It means chance-y. Well. Forgot SoSnx x -Vo,v MV' —_ it. Chanee-y'U doj Have a good lunch.^ {Exits.)

Sn ex P>nr\p2- (Merrick eats a little, breathes on model, polishes it, ^ |V\ x. C> V goes to bed, arms on knees, head on arms, the position in which he must sleep.)

* \t> 6 A Merrick. Chancey? (Sleeps.)

(Enter Pinheads singing.)

Pins -C-ot i2nsp3 Pins. We are the Queens of the Cosmos Beautiful darkness’ empire Fix of Pd. Darkness darkness, light’s true flower, P '2- }<, t- ©V S'*- Here is eternity’s finest hour f3 _:v ViC^A Sleep like others you learn to admire Sfrecln .Be like your mother, be like your sire. CA oot -—- (They straighten Merrick out to normal sleep posi tion. His head tilts over loo far. His arms fly up clawing the air.\nc~dics\\As light fades, Snork. . enters.) " ------rot V Vo t>V* Snork. I remember it, Mr. Merrick. The word is “arbitrary.” Arbitrary. It’s all so—oh. Hey! Heyl The cilSCoVtr M130 e.x Elephant Man islfleadj______L.<^Cd7 e>un o^+ Fadeout. KlGt Ko K ''n ^UcVtfiOV Scene 21 V cntoP FINAL REPORT TO THE G?W SiVTC R of K INVESTORS

Gomm reading, Treves listening. 100

THE ELEPHANT MAN 57 l Gomm. “To the Editor of The Times. Sir; In No- veraber, 18S6, you were kind enough to insert in the Times a letter from me drawing attention to the case of Joseph Merrick—” Treves. John. John Merrick. Gomm. Well. “—known as the Elephant Man. It was one of singular and exceptional misfortune” et cetera et cetera “ debarred from earning his live- , lihood in any other way than being exhibited to the TV « ^ tvVW* £aze of the curious. This having been rightly inter- r'cxv^ fered with by the police " et cetera et cetera, “with great difficulty he succeeded somehow or other in getting to the door of the London Hospital where through the kindness of one of our surgeons he was sheltered for a time.” And then and then and ah. “While deterred by common humanity frr evicting him again into the open street, I wrote to jou and from that moment all difficulty vanished; the sympathy of many was aroused, and although no other fitting refuge was offered, a sufficient sum was placed at my disposal, apart from the funds of the hospital, to maintain him for what did not promise to ~ t \ G A be a prolonged life. As—” I ' ^ ° ^ Treves. I forgot. The coroner said it was death by asphyxiation. The weight of the head crushed the

G X Totloua£ ti ~Pi------IGomm. —IWell.—---- I go -on------to say about how he spent his time here, that all attempted to alleviate his mis- _ ery, that he was visited by the highest in the land et T -cetera, et cetera, that in general he joined our lives as best he could, and: “In spite of all this indulgence, he was quiet and unassuming, grateful for all that was

r 4.op0 done for him, and conformed readily to the restric- G 5 0 tions which were necessary.” Will that do so far, do T P e o^Bo-Vy0u think? 101

58 THE ELEPHANT MAN Treves. Should think it would. Gomm. Wouldn’t add anything else, would you? Treves. Well. He was highly intelligent. He had an acute sensibility; and worst for him, a romantic imag ination. No, no. Never mind. I am really not certain . of any of it. tSawtSi) X u C Gomm. “I have given these details thinking that T'

"Y" ■V\_>'r rv.'V'CriCo Treves. I did think of one small thing.______. „ Gomm. It’s too late, I’m afraid. It is done. '(Smiles.) ~ Non Hold before fadeout.

Cor C^U o fxnove Ac. O u. a no b ffV B A* U E- i'AQ -Z-T uan p -s LT, G 3 t-a 72. Ks'x TK e*\b 1 _ ^ goui ^CVec^r- gOlO

G_crrV\ y 102

Symbols Used In the Prompt Book Blocking symbols X cross D downstage U upstage C center stage

R stage right L stage left Pr profile Rmp ramp

OP office platform WP pole with wall sconce Bt bath tub Dk desk

Tc desk chair

Sc side chair

Ctn curtain Ac arm chair

Gt gift table

Gtc gift table chair Bd bed

Mt model table Mtc model table chair M model Ex exit En enter Technical Cue Symbols LQ Light Cue MQ Music Cue

SQ sound Cue FQ Fly cue

Character Symbols

T Treves G Gomm M Merrick K Kendal Rs Ross Pm Pin Manager P 1,2,3 3 Pinhead Ladies BP Belgian Police LP London Police C Conductor

S Nurse Sandwich

B Bishop How W Will

S Snork 0 Orderly LJ Lord John Ch Cellist CHAPTER VI

THE ELEPHANT MAN POST-PRODUCTION ANALYSIS

104 Committee Evaluation On May 2, 1984, I met with my advisory committee, Professors Bailey, Krasser, and Schor, for an evaluation of my work on The Elephant Man, and my overall progress as a director.

The first area addressed was casting. The Committee thought the major male characters were well cast and that the actors' abilities were stretched by doubling roles.

However, the multiple roles were played with uneven success because of problems of adequate differentiation of characters. The casting of the women was less effective. Greater neutrality of character was needed for the

Pinheaded Ladies. The actress playing Mrs. Kendal, although possessing vulnerability and a good sense of connection with the other actors, lacked the maturity and strength needed for the sweep and grace of the character. The final comment on casting concerned the use of the life cellist. Although the music provided emotional punctuation, the cellist's presence drew too much focus.

Discussion of the cellist led to an evaluation of the mounting of the play. The Committee indicated that the placement of the cellist threw off the stage composition and resulted in upstaging. Upstaging was also a problem in some of the office scenes and in the picnic scene in which

105 106

the picnic basket drew too much focus. Some of the problems could have been eliminated by a clearer and firmer discussion with the set designer and by a request for a model of the set with which to work.

The Committee thought I did well given the limitations of the script, and that my work was mature and imaginative. They cautioned me not to let loyalty to designers limit my vision. They indicated that I was receptive and hard working and noted my solid progress as a director.

Director's Evaluation I learned a great deal working on this production. Initially I had been apprehensive about working with experienced actors but found that they were able to provide a more satisfactory performance than the beginning and intermediate actors with whom I had worked in the past. I realize that more analysis in advance will give me more confidence in working with actors and designers. Greater adherence to the demands of the play rather than personal responsiveness to individual auditioners will solve some casting dilemmas. Remaining alert to problems of upstaging will help me to achieve clearer focus in spatial relationships. Retaining my sensitivity to the individual needs of actors during the rehearsal process while giving freer rein to directorial leadership in relation to designers will give me a more solid base from which to 107 direct. In the process of writing this thesis, I have discovered the value of objectifying my thoughts. I could have communicated my desires more clearly had I engaged in this process prior to production; however, many valuable ideas emerged as a result of the mutual flexibility of designers and director. I must retain that flexibility. In my estimation the production was effective. I was never thoroughly satisfied with the Pinheads. I found no way to effectively solve the ambiguity of their interaction with Merrick in scene twenty, and I was unable to fully make sense of their dance in scene four. Although I understand the reservations about casting, I chose to cast Kendal as a younger, less sophisticated woman in order to use the sense of unity I felt from,the group as a base from which to build a solid ensemble. I'm not sure that anyone in the audience felt the parallels to the extent that I wanted, but there was warm audience response to Geoffrey Dawe's Merrick. Those performances in which the actors ceased to rely solely upon themselves and relied upon one another were the most effective and the production moved effortlessly from one moment to the next. I learned that it is necessary for the director to give up the play to the actors before they can fully perform it. The collaborative process has the potential to create a production whose whole is greater than the sum of its parts. This kind of production can enrich the lives of the 108

participants on both sides of the proscenium arch. My goal is to create, or rather to participate, as a director, in the creation of such productions. As I proceed to develop my directorial process, I will continue to strive to achieve this goal. This was a good beginning. Reviews

109 110

th* Chronld*. Wlllimanltc Conn., SomnUy, Fobruary 23, im 7 UConn’s powerful Elephant Man By MATT McGREGOR Only one of these elephant man ‘‘fans” has any Artf Editor substance and that, significantly enough, is an actress, Mrs. Kendal, played by Allyson Surpre- Geoffrey Dawe, as John Merrick, sits in a nant, with an artist’s ability to emphathize with bathtub-on-wheels conversing with James Lillie as this most mishapen of men. Frederick Treves and we in the audience know She will be banished, though, because in one of Merrick, the elephant man of Victorian history, is the most tasteful scenes in the play, she bares her of the stuff nightmares are made of. breasts (bosoms in Victorian terms) to Merrick only to be discovered in this most giving gesture We know this because, when earlier Treves on Kendal’s part — by a most Victorian Frederick lectures on Merrick, slide or spectroscope photo Treves. (The Victorian age had many such graphs of several drawings of the originarjohn Sc tresses and artists who lived in opposition to the Merrick are thown nakedly on a screen. It is not mores of the times.) necessary that Dawe undergo any impossible The others, including Prince Edward of Wales’ makeup in representing his role. What is consort. Princess Alexandra, a countess and a necessary is a wealth of understanding and acting duchess (pinheads 1 and 2 in the play) drift ability on Dawe’s part to make us believe in through Merrick's life just as did the spectators at Merrick's predicament. the freak show Merrick has escaped. This we get from Dawe and this we get from the The Nutmegger's production is heightened by a Nutmeg Theater cast of ten directed by Mary kind of a bare bones, yet ample setting done by Ashton in Bernard Pomerance's The Elephant Clay Massey, and by indirect and low lighting Man which opened Thursday night at UConn’s (Nina Chwast) which tells us how grimly dim was Jorgensen Theater. It is remarkable theater, done the London of the time. with taste, with emphathy for a social outcast and, While Dawe and Lillie carry the burden of the yes, with inspiration. play. Max Caldwell must be cited for his interpretation of Carr Gomm, London Hospital Merrick, the most untouchable of a British director; a character right out Dicken’s Hard Empire era filled with untouchables (and not just Times and one viable in today’s business-oriented of the British Raj’s India) speaks to us, in this society. play, from out of 100 years ago. What relevance Add appreciation for some great costumes, by for today? Stephanie Durston, and for the cello music, Well, The royal, the rich, the famous and the intregle to the play, performed by Aimee Kanzler. powerful of British history are no less, nor no I did not see the movie. Elephant Man, but I more, than the jet setters of our own times; those understand from those who have the Pomerance who today take up the avant garde, the cult play is in a class by itself. figures, the impossible causes — and, like the By all means, go see it Victorian British upper classes, never really see people as they are and who drop cults, causes and Elephant Man runs to through March 3 at the people when these are no longer germane. Jorgensen. Tickets are 25 and worth it. Info at 486-3969 or 4864025. This is what happens to Merrick, despite or perhaps because of the best of intentions by Treves, a lecturer on anatomy at London Hospital. Ill

P«g«8 Connccttuu CWy CAcnpuv TuexUy. fcbriMry I9tt4 ■Arts ‘Hie Elephant Man*: ^jiritual beuuty tranteentk deformity

mutaUun and spirttual beauty and a* a result, he is aban AittCdUor IheIVy: Cuijinimg to tunm 8yC*rrWBr»MM with society'* normal com* doned at a tram station- Fas Gro(eat|iieneM hit two pteuun and apmtual decay cinated by his congenital VtrthpMtmOon. wniMnlWBmMdPufiwrsM« MeptuiNi lively Miesaed the theme that Pumums. Twlvwsi Uraciut Vmuo cunai biun SUamp* Haymund AnMXMiy «ncc'« The Elephant Man don physician, brings Memck tatwr Mastar atauxiaa iuai tiiUW. AsawaiM K^a Matuy Jalayiw rnw wtwh w«» peilomted Friday Mernck * ddormity * not to fus hospital where he •ua evening at the Her net S. nearly a* grotesque as the spends the remaining tu Jorgeneen Theatre callous soul* ot society’s years of h» Me. CAST conturmers. Geullrey Dawe translorma (m order of appearance) Baaed on the hie ol John iohn Memck kved trom into the grotesque pliysical Frederick Treves, Belgian Pufaceman .. James Ulbe Merrick, a vtcUn at a phyucal 1B62-1U90 The play begins shape of Memck m a cleverly Carr Comm'Conductor...... deturnuty. Pomerance'* play when he m no lunger proM* theatrical scene with Jm UUie Roso Snork1 Btstoip Walsham How .. U. Jonathon Toppo contrast* Merrick's physical able m* con man'* treakahuw as Doctor Treves. As the Ci aiii-M-lr Doctor desenbea lus patent’s hnhead Manager/Lord JohrvWil/ appearance, actual photo London Policeman ...... Watty Dunn graphs Qd Memck are prufec* Mr* Kendal...... Ally son Surprcnant led on stage At the same time, Pinhead 1/Countess, Mua Sandwich___ Dawe, without make-up, Pinhead 2/Prince** Alexandra...... molds his lace and body to Pinhead 3,'Duche**...... become the Elephant Man- Orderly...... David Scott Meikie tt la this dHhgured pose Ccfiwt...... Aunee Kaiuler which contrasts with the pro per, upright world ol Wionsa The expressive beauty tg However, in Scene Id. “We England Clay Massey’s set ol the ceOo music parallea the are Dealing with an F^h* suspended wood Irsmed, apinmal depth of iohn detiuc'”. one sees tliem Inmi pastet-pamied scrim Mua* Mernck. He la able to vww Mrirnks «*yrs and pea's bates ths pcriwfs grace and Mtuetiufia and human tw tliem. Cmiloniiers must sup tharm, yet the heavy iron havlur from a bee. uncon* press their spirNs ni order In arctics stress its tkrutatiuns. dNemed perspective. Yet In luttow Hie rules andthriNigU the wrlf-ciMitrigled actuig «4 Neia Chwasis kghtmg his conversaliuns with others, Jim l-iike, Uie confbcl Hie design reeikirces this theme « becomes apparent lhat he is ol struggling soul trying tu tree with a soft, undetmed focus on spmtuaUy skme as weg as kseii is portrayed Mernck’s quarter* and a physically isolated from mure me ns* ktfi on Dr. human Conduct. in addMKMi. AUyson 3urpre- nsnt as Mr* Kendal, and Treves* ollice. For example. David Scon Jonathan Toppo. a* the con Costume desqpier Steph Medde, as the orderly, helps man. etleclweiy reflect thev anie Curston conveys Memck out of the hath and character'* rule m society, a* Merrick’s transformation quickly places a robe around well a* their spiritual knot* bom a world wtm-e anything hen wth stiff, mettioikcaJ ges Moreover. Out trey Dawe goes to the stnet sirs ol high ture*. Through these silent expresses Kie kiwi less, inner society London. In the begin* scenes of human contact, the depth of Memck by molding lung. Merrick wears a kern* audience Is reminded of not only his physic el form but less brown covering which Merrick’s ugliness and by defining lus spiritueJ contrasts with the form gttmg alonenesa. character as well robe m the hospital As one sympathues w*h in effect, the play M a suc cess because M exposes die In addibun Amwe Karuter'a Memck, the gruteaqueness of Geoff Daw* play* JoM Merrick fas the Draasa Depart- grolesqueness of Mernck's cello playing throughout the society becomes apparent asenf’s prodoedoa of The Elephant Man, which will he per fiesh and society's befiawjr m production creates the cuoa- Superficial, fickle, and trans- formed oaill March 1. Pertormaace* begla at 8 p.a* For order to reveal the avkvidual tam mood of Vkmnan En* cient society Irst appears ttefcato, call the hoa ofTke of 4M-3Mi. struggle of the soul. gland antagonistic. CHAPTER VII REFERENCE MATERIAL

112 Cast List

Dr. Frederick Treves/Belgian Policeman James Lillie Carr Gomm/Conductor Max Caldwell Ross/Snork/Bishop Waltham How U. Jonathan Toppo John Merrick Geoffrey Dawe Pinhead Manager/Lord John/Will/

London Policeman Wally Dunn

Mrs. Kendal Allyson Suprenant Pinhead 1/Countess/Nurso Sandwich Janice Mozeiko

Pinhead 2/Princess Alexandra Janet Lee Messick Pinhead 3/Dutchess C. J. Feldburg

Orderly David Scott Meikie Cellist Aimee Kanzler

113 114

Production Staff

Director Mary Ashton Directing Advisor Leon E. Bailey

Scene Designer Clay Massey Scene Advisor Jerry Rojo

Lighting Designer Nina Chwast

Lighting Advisor James Franklin Costume Designer Stephanie Durston

Costume Advisor Alicia Finkle Asistant Scene Designer Jim Lyden Assistant Lighting Designer Mark Legrand Assistant Costume Designer Brian Wolfe Technical Director Shaun B. Curran Stage Manager Raymond Antony Fisher Assistant Stage Manager Jalayne Peterson Master Electrician Don Titus

Properties Master Brian Wolfe Scene Artist Jay Jagim 115

Rehearsal Schedule Wed., January 18, 12 00-5:00 p.m. Treves, Merrick, Gomm Block 1, 3, 17, 18, 1/2 8 Thurs., January 19, 10 00 a.m.-1:00 p.m./ 2:00 p.m.-5 00 p.m.

Treves, Gomm, Merrick, Ross, Pin Manager Block 2, 4, 5, 8, 7, 21, 1/2 13

Fri., January 20, 10:00 a.m.-1:00 p.m./2:00 p.m.-5 00 p.m Treves, Merrick, Gomm, Ross, Pin Manager Block 15, 16

Sat., January 21, 10:00 a.m.-1:00 p.m./2 00 p.m.-3:00 p.m Treves, Merrick, Kendal Block and Work 9, 10, 14, 16 Sun., January 22, 7:00 p.m.-11:00 p.m.

Work with ladies and Pin dance Mon., January 23, 7:00 p.m.-11:00 p.m. Second read-through; show model and costume designs to actors

Tues., January 24, 7 00 p.m.-11 00 p.m.

All called.

Block 11, 12, 20, 6, 13

Work 6, 4, 9, 10, 14 116

Wed., January 25, 7 00 p.m.-11 00 p.m. All called.

Blocks—scene changes Act I Run Act I

Thurs., January 26, 7:00 p.m.-11:00 p.m All called.

Same as Wed. plus costume changes Fri., January 27, 7:00 p.m.-11 00 p.m.

All called except Scott Miekle Work Act II Work Pinhead scenes Mon., January 30, 7:00 p.m.-11:00 p.m. Merrick, Treves, Kendal Work 9, 10, 14, 16, 3, 18

Tues., January 31 No call

Wed., February 1, 7:00 p.m.-11:00 p.m. All called but Scott Meikie

Work 4, 5, 6, 11, 12, 7, 8, 2, 15 Thurs., February 2, 7:30 p.m.-11:00 p.m Merrick, Treves, Gomm Work 1, 21, 17, 18, 3, 16 Fri., February 3, 7:00 p.m.-11:00 p.m. All called Run Acts I and II 117

Sun., February 5, 7 00 p.m.-11 00 p.m. All called Run Act I

Mon., February 6, 7:00 p.m.-11 00 p.m.

All called Run Act II Tues., February 7, 7:00 p.m.-11:00 p.m. All called Run Act II Wed., February 8, 7:00 p.m.-11:00 p.m. All called Run Act I Thurs., February 9, 7:00 p.m.-11:00 p.m. All called

Run In 101 Fri., February 10, 7:00 p.m.-11:00 p.m.

All called

Run on Jorgenson stage

Sun., February 12, 7:00 p.m.-11:00 p.m.

(From this rehearsal on, all actors are called. Run and work Acts I and II. Mon., February 13, 7 00 p.m.-11:00 p.m. Run and work Acts I and II. Tues., February 14, 7:00 p.m.-11 00 p.m.

Run and work Acts I and II. 118

Wed., February 15, 7 00 p.m.-11:00 p.m. Run and work Acts I and II. Thurs., February 16, 7 00 p.m.-11 00 p.m.

6 00 Assemble in the green room 6 15-6 30 Warm-ups in lobby

6:30-6:45 Check props

7:00 Places for Act I Fri., February 17, 6 00 p.m.-11 00 p.m. (Technical Rehearsal)

6:00 Assemble in green room 6 15-6:45 Warm-ups; check props 7:00 Places for Act 1 Sat., February 18, 12 45 p.m.-5:00 p.m. (Dry Technical Rehearsal) No actors are called Sun., February 19, 5 00 p.m.-11:00 p.m. (First Dress Rehearsal)

5:00 Assemble in green room 5:15-5:45 Warm-ups in lobby

5:45-6 30 Check and experiment with costumes and changes, on stage 7:00 Places for Act I 119

Mon., February 20, 5:30 p.m.-ll 00 p.m. (Second Dress Rehearsal)

5:30 Assemble in green room 5:45-6:05 Warm-ups in lobby 6:05-6 35 Experiment with make-up 6:35 Get into first costume of show 7:30 Places for Act I Tues., February 21, 6 30 p.m.-11 00 p.m.

(Third Dress Rehearsal)

6:30 Assemble in green room 6 45-7:15 Warm-ups in lobby 8:00 Places for Act I 10 30 Photo call Wed., February 22, 6 30 p.m.-11:00 p.m.

(Preview) Thurs., February 23, 6:30 p.m.-11 00 p.m. (Opening Night) Fri., February 24, 6:30 p.m. (Performance) Sat., February 25, 6:30 p.m.

(Performance) Sun., February 26

No call Mon., February 27

No call 120

Tues., February 28, 6 30 p.m. (Performance) 10 30 Photo call Wed., February 29, 6 30 p.m. (Performance) Thurs., March 1, 6 30 (Performance) Fri., March 2, 6:30

(Performance) Sat., March 3, 6:30

(Performance)

After performance, all actors are to participate in strike. 121

Scene Breakdown

Plot

A brief synopsis of each scene including titles and characters will be of assistance in understanding the structure of this play.

Act I

Scene 1: HE WILL HAVE 100 GUINEA FEES BEFORE HE'S FORTY Treves, Gomm.

Treves arrives at London Hospital to begin work.

Gomm gives Treves a description of conditions in and around the hospital. Scene 2: ART IS AS NOTHING TO NATURE

Ross, Merrick, Treves.

Ross displays Merrick while "barking" his "pitch" for customers. Treves discovers this and contracts with Ross to examine Merrick at the hospital. Scene 3: WHO HAS SEEN THE LIKE OF THIS Treves, Merrick. Treves lectures on Merrick's deformities at the hospital. Scene 4: THIS INDECENCY MAY NOT CONTINUE

Merrick, Ross, Pinheaded Ladies, Pin Manager, Belgian Policeman, a Conductor. 122

Ross and Merrick arrive in Belgium and discover the Pinheaded Ladies in a sideshow. The Pins perform poorly and are chastized by their manager. Ross and Merrick are abused by police and told to leave. Ross robs Merrick and abandons him to the Conductor with instructions to see Merrick to Liverpool St. Station. The conductor struggles with Merrick as Ross leaves. Scene 5: POLICE SIDE WITH IMBECILE AGAINST THE CROWD

Conductor, London Policeman, Merrick, Treves. Merrick, nearly beaten to death by the crowd, is harbored at the station by the Conductor and the Policeman, who are unable to understand his speech and therefore ignore his pleas for help. The Policeman discovers Treves's business card in Merrick's coat and the Conductor goes to find

him. Treves arrives to help Merrick. Scene 6: EVEN ON THE NIGER AND CEYLON, NOT THIS

Treves, Merrick, Nurse pandwich, a porter. Treves hires Nurse Sandwich to care for Merrick.

She, like the regular nurses, is so repulsed by Merrick's appearance that she runs from his room screaming. Scene 7 THE ENGLISH PUBLIC WILL PAY FOR HIM TO BE LIKE US

Treves, Merrick, Gomm, Bishop Waltham How. 123

The Bishop visits Merrick and is inspired by his "religious nature." Gojnm informs Treves that enough money has been donated to support Merrick for life. The Bishop attempts to show Gomm that Christianity has supremacy over science. Scene 8: MERCY AND JUSTICE ELUDE OUR MINDS AND ACTIONS

Treves, Merrick, Gomm, Will, Snork (2 orderlies).

Will is fired by Gomm for peering in on Merrick

and arranging the same peep show for Snork.

Treves explains to Merrick that this is his home and begins to educate Merrick to middle-class social values, telling him that we abide by the rules because they are for our own good. Scene 9: MOST IMPORTANT ARE WOMEN Treves, Mrs. Kendal.

Treves engages the services of an actress, Mrs. Madge Kendal, to keep Merrick company and teach him how to deal with women.

Scene 10: WHEN THE ILLUSION ENDS HE MUST KILL HIMSELF

Treves, Kendal, Merrick.

Merrick makes sketches for his model of

St. Philips' Cathedral. Kendal meets Merrick and becomes fond of him. As she leaves she shakes his one good hand and offers to introduce him to members of society. 124

Scene 11 HE DOES IT WITH JUST ONE HAND Merrick, Treves, Kendal, a Countess, a Dutchess, Lord John, Princess Alexandra.

Merrick builds his model as the nobility parades through his room bringing Christmas gifts. Scene 12: WHO DOES HE REMIND YOU OF

Treves, Merrick, Kendal, Gomm, the Bishop, the Countess, the Princess, Lord John.

Each character comments on Merrick, describing

how "He is just like me." Treves realizes that he is spiritually deformed.

Act II Scene 13: ANXIETIES OF THE SWAMP

Treves, Gomm, Lord John, Kendal. Lord John, who has lost Merrick's money by gambling, has come to get more. Gomm forces Lord John to leave, and then explains to the

distraught Treves that Lord John is a "moral swamp" and that Treves should have nothing more to do with him. Mrs. Kendal arrives and with Treves goes to visit Merrick. Treves leaves after an emotional outburst. Merrick, having overheard the discussion with Lord John, is

worried, and questions Kendal about it. 125

Scene 14 ART IS PERMITTED BUT NATURE FORBIDDEN

Merrick, Kendal, Treves. Merrick hints that Kendal should be his

mistress. He confesses that he has never seen a naked woman. Kendal bares her breasts to Merrick. Treves returns, sees this, angrily dismisses Mrs. Kendal, and chastizes Merrick. Scene 15: INGRATITUDE

Merrick, Ross.

Ross attempts to get Merrick to rehire him as a manager. Merrick refuses. He tells Ross that now he is "a man like others". Scene 16: NO RELIABLE GENERAL ANESTHETIC HAS APPEARED YET

Merrick, Treves.

Merrick challenges Treves, implying that Treves

is a hypocrite. Treves is deeply affected. After Merrick leaves Treves reveals that Merrick will die soon.

Scene 17: CRUELTY IS AS NOTHING TO KINDNESS Treves, Merrick, Gomm. Treves falls asleep and dreams a reenactment of scene two in which he and Merrick have reversed roles and Gomm is substituted for Ross 126

Scene 18: WE ARE DEALING WITH AN EPIDEMIC

Treves, Merrick.

The dream continues. Now it is a reenactment of

scene three. Merrick lectures about Treves. Scene 19: THEY CANNOT MAKE OUT WHAT HE IS SAYING Treves, Gomm, Bishop.

Treves is visibly upset. Gomm is unable to understand Treves's explanation of the source of his distress. Gomm leaves as the Bishop enters. Treves delivers a tirade in which he attempts to make the Bishop see what he has learned from his association with Merrick. The Bishop doesn't

understand but offers Treves the consolation

that is found in the church. Treves finally breaks down in tears.

Scene 20: THE WEIGHT OP DREAMS

Merrick, Snork.

Snork brings Merrick's lunch, discusses the

death of a friend's sister, and leaves. Merrick goes to bed. In a surreal dream sequence the Pinheads reappear and assist Merrick in lying down in a prone position. Merrick dies. Snork re-enters and discovers the dead Elephant Man. 127

Scene 21: FINAL REPORT TO THE INVESTORS Treves, Gomm.

Gomm reads the report of Merrick’s life and death to Treves. The report is to be sent to

those who contributed money for Merrick's support. Treves grieves, and expresses confusion about Merrick's level of sophistication. 128

Technical Production Schedule 10/16/83 1st Production Meeting 12/19/83 2nd Production Meeting 12/19/83 Designs Due 1/9/84 Prop Plot Due 1/10/84 Begin Preliminary Spotting and Rigging 1/16/84 Begin Set and Prop Construction 1/23/84 Set Painting Begins

Sound Plot Due

1/30/84 Sound Rehearsal Tape Due Light Plot Due

1/31/84 Order Lenses for Projections

2/3/84 Running Crew Plot Due 21G/QA Hang Lights 2/7/84 Verify Lenses 2/8/84 Hang Lights 2/10/84 Hang Lights 1-3 Actors at Jorgenson—shoes provided 2/13/84 Church Model to cast Focus Lights Projection Rehearsal 2/14/84 Focus Lights Projections

Show Soundtape Due 2/15/84 Focus Lights Projections 129

2/16/84 Prop and Furniture set up Dimmer Check 6 00 p.m. Move in 7:00 p.m. 2/17/84 Tech Rehearsal 2/18/84 1 00 p.m. Dry Tech 7-11 Tech Rehearsal 2/19/84 Dress Rehearsal 2/20/84 Dress Rehearsal with Makeup

2/21/84 Dress Rehearsal Publicity Photo Call 10:30 p.m.

2/22/84 Preview Performance 8:00 p.m.

2/23/84 Opening Night 8 00 p.m. 2/24/84 Performance

2/25/84 Performance

2/28/84 8:00 Performance 10:30 Photo Call 2/29/SA 8:00 Performance 3/1/84 8 00 Performance 3/2/84 8:00 Performance

3/3/84 8:00 Performance Strike 10:30 130

Property List

Personal Props

Merrick: walking stick, Treves's business card in coat

Treves: hat, gloves, business card, 1 tuppence, 5 bob, cig. case (gift) Ross: hat, gloves, scarf, bob ($) Lon., Bob: nightstick Lord John: walking stick Snork: 1 tuppence

Act One (Pre-Set S.R.)

Orderly's mop and bucket with water Elephant man banner

Tub with accessories (Merrick's Bible) Nightshirt

Bed (pillows, sheets, blankets)/ robe, business card, Mom's pic Church model

Model table sketch pad, pencil, R.J. book, Bible Blind house pamphlet

Gifts: ring box—Duchess, walking stick—Sir John 131

Pre-Set S.L. Folder—Gomm Treves' desk, two chairs

Desk dressings ink-well, pen, notebook, med. book,

Aeschuylus book, folder with Merrick's pictures Wood tray with food—Will Pinhead banner

Gift table, chair Arm chair

Gifts box (brushes)—Countess, picture (Princess),

box (razors, toothbrushes)—Kendal, Bishop How's Bible

Pre-Set on Stage (during act break)

Treves's desk: corset pamphlet, newspaper Arm chair—D.S.C.

T. Hardy book—Merrick's bed

Act Two

Off-Stage S.R.

Silver tray with food—Snork 132

Picnic basket cloth, two wine glasses, wine bottle, knitting needles, yarn—Kendal Newspaper—Kendal Letter to London Times—Gomm Costume Plot

133 - CO ITUflET fl OT -tjx;nn • c \ *3 4 6 7 PlNHEftp tONDON PC. CVlQAblfr Cwia; ^nb jlcl—U/Ulfow CUOMflC- jlch-twf'ct yesf ^ flAntxrt bow Ufc g&W£Vt black soxpV^ paAflj-taii-f-' q 10 II IZ. 13 -14 ... PORlEK LoTd John WHO S’OHU LO£D TOHX/ fis t> • cUcLA*ge nt II ns ii 7-fom] 134

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______KOSS B/5H0P

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Cassock Cassock 136

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I 140

Sound Plot Carriage Sounds 30 seconds Voice Over

Carnival Sounds 1 00 minute Boat Sounds 30 seconds

"Liverpool St. Station"

Angry Crowd 5:00 minutes Pin Voice Over Score

141 142

THE ELEPHANTMUSIC FOR SOLO CELLO Arranged by Sanunarcini David Heiss Cello Sonata ACT Is SCENB-'l ENTER i STAGE LEFT ON HAND CUE FROM STAGE MANAGER

PLAYl ON LIGHT CUE (STAGE RIGHT)

fadei on cam's entrance to stage front.

exit I AFTER *0R SO IT SEEMS TO ME.*

>981 by David ■ 143

: SCENES 2,3,4 OUT

SCENE 3

ENTER) " LIVERPOOL STREET STATION I I " {pLAYi 2 BEATS (SECONDS) AFTER "HELP HEl"j

jy BACH G major Praluda

FADE I TREVES' ENTRANCE (STAGS LEFT) 144

TRANSITION SCENE 6-7

PLAY: 2 BEATS AFTER "YES, WELL. THIS IS NOT HELPING HIM."

OliC S BACH D minor Pr«lud«

■j—^ ,..,T.t^JT- , ^77, i—| i r-j=s"

FADEi ON-STACE VOICE BISHOP - "WITH WHAT FORTITUDE HE BEARS HIS CROSS!’ 145

TRANSITION SCENE 7-8

PLAY: 2 BEATS AFTER TREVES - "IS SOMETHING WRONG, MR. GOMM? WITH US?•

Cue 4 BACH C major Pr.lud.

JLUrtz*. — Ax.

FADEi ON STAGE VOICE MERRICK - *HCM LONS IS AS...* 146

TRANSITION SCENE 8-9 PLATi AFTER MERRICK - •BOOM. BOOM. BOOM."

FADE* TREVES* MOVEMENT TO STAC* LEFT AFTER POURING SECOND BRANDY.

TRANSITION SCENE 9-10

PLAYl ON MRS• KENDAL*S EXIT.

Cue 6 SAMMAJtTIHI Son.t.

fADEl ON TREVES' AND MRS. KENDAL'S ENTRANCE STAGE RIGHT 147

AFTER SCENE 10

PtAYI 2 BEATS AFTER TREVES - "WHAT A WONDERFUL SUCCESS. DO YOU KNOW HE'S NEVER SHOOK A WOMAN'S HAND BEFORE?"

HOLD! LAST NOTE UNTIL LIGHTS OUT.

EXIT STAGE LEFT

-ma-or act-t- 148

ACT 111 SCENE U

ENTER: STAGE LEFT ON CUE. SIT IN STAGE CHAIR.

PLAT: COUNTESS - ‘I AM VERT PLEASED TO HAVE MADE YOUR ACQUAINTANCE.’

Cue S BACH G major Kanuat I

FADE: AFTER PRINCESS *...! AM SO VERY PLEASE TO HAVE MADE YOUR ACQUAINTANCE.* 149

SCESE 12 PLAY: AFTER MRS. KENDAL - "PROPS OF COURSE. TO MAKE HIMSELF. AS I MAKE ME."

Cue 9 BACH G mA]or M«nuet II

FADE * AFTER PRINCESS - "DEAR FREDDIE, IF YOU CAN PUT UP WITH THE ELEPHANT MAN, YOU CAN SURELY PUT UP WITH ME." 150

PLAY: AFTEH TREVES - " LIKE HIS CONDITION, WHICH MAKE NO SENSE OF , I MAKE NO SENSE OF MINE I

Cue 10 (Mot* appr«alMt«! KCZSS No. 1 Moderate

rA0E' V0ICB - ’8UT THE papers are saying

TRANSITION SCENE 13-14 PLAY! 3 BEATS AFTER MRS-- KENDAL - 'I? WHAT? WILL^T?-

Cue HEISS NO

FADE ■ ROSS I COME ACTUALLY TO ASX 151

SCENE H-1S PtAY s 1 BEATS AFTER ROSS - "BY GOD. THEN I AM LOST

PADSi MERJtXCX - "THE PRINCE HAS A MISTRESS." 152

TRANSITION 7 SCENE *«-'•« 1 PLAYj ON MRS. KENDAL'S EXIT

Cue 13 BACH D minor Pr«Iud« 153

PLAY: 2 BEATS AfTEH ttERfUCX - “THE TRUTH IS, 1 AM ATRAID, WE ARE DEALING WITH AN EPIDEMIC ."

Cue 16 BACH C m«]or Pr«lud« 154

PLAY: 2 BEATS AFTER MERRICK - "IT IS DONE•*

ALLEGRO APPASSIONATO

FADE i SNORK • "LUNCH, MR. KERAICX." 155

PUY: SNORK - "THE ELEPHANT MAN IS DEAD! THE ELEPHANT MAN IS. (PLAY DIRECTLY ON THE SECOND "IS”)

Cue IS G m*]or Prtlud*

FADEi COMM - "TO THE EDITOR OF THE TIMES.*

END OF SCENE 21

PLAYi 2 BEATS AFTER GOMM - "IT’S TOO LATE, I'M AFRAID. IT' IS DONE.*

Cue 19 HEISS No. 1

*•14U**«* Mill'

FADEl LIGHTS OUT AND END OF SHOW

WHILE THE CAST IS TAXING THEIR BOWS, CONTINUE PLAYING WHILE WAITING FOR YOUR BOW (PERHAPS THE SAINT-SAZNS.)

Quaition* or conmonta on this music msy b* dlrsctsd to ms DAVID HEISSr. 104 Wsst 7Sth Straat, (Apt 10E) Naw York, N.Y. 10021 (212) 724-1144 Program

156 Bv Bernard Pomerarne

The Uni\«rMiy of (onneviiiul School of Tine Arts Department of Dramatic Arts DEPARTMENT OF DRAMATIC ARTS SCHOOL OF FINE ARTS THE UNIVERSITY OF CONNECTICUT

Director of Theatre Jerry Rojo General Manager Production Manager John Herr James Franklin presents THE ELEPHANT MAN by Bernard Pomerance Directed by MARY ASHTON*

Set Design Lighting Design Clay Massey NinaChwast Costume Design Technical Director Stephanie Durston Shaun B. Curran Stage Manager Raymond Anthony Fisher

•NOTE: This production is in partial fulfillment of the require ments for the Master of Fine Arts degree in Dramatic Arts/Directing for Mary Ashton. Ms. Ashton’s major ad visor is Dr. Leon Bailey. ABOUT THE CAST MAX CALDWELL — Max is our local Cape Cod representative and has held lead roles in a variety of shows. Most recently he was seen as Curly in Knuckle and the King in Life Is A Dream. One of Max’s interests is stage combat with an emphasis in fencing. GEOFFREY DAWE — Geoff, a resident of Arvada, Colorado, has l had many leading roles both here at UCONN and at Baylor Univer sity. Geoff has played in the past such roles as Richard in Richard III, Richie in Streamers, Ward in The Wager, Clotaldo in Life Is A Dream, and Robert in The Betrayal, just to name a few. The role of Merrick is in partial fulfillment of the Master of Fine Arts Degree in Acting. Besides acting Geoff enjoys skiing and mountain climbing. WALLY DUNN — Wally is a second year MFA candidate in Acting who is from Warwick, Rhode Island. Wally received his Bachelor of Arts degree from Providence College. He has played various roles here at UCONN including Scrooge in A Christmas Carol, Marat in MaratlSade, Mr. Badger in The Streets Of New York, and Mr. Hardcastle in She Stoops To Conquer. C. J. FELDBERG — C. J., a freshman acting major from Windsor, makes her UCONN acting debut in The Elephant Man. Before coming to the University, C. J. performed in the Windsor High School productions of Blackboard Jungle and Once Upon a Mat tress. Some of C. J.’s other interests include swimming, singing, and horseback riding. JAMES LILLIE — An MFA candidate in Acting from Washington, Pennsylvania, Jim was most recently seen as Bob Cratchit in A Christmas Carol. In addition to his many appearances on the UCONN stage, he is a Nutmeg Box Office Manager, a Lecturer in Acting, and was a participant in the 1983 Summer Workshop for Actors in English Classical Style. DAVID SCOTT MEIKLE — David, an undergraduate Acting major from Mansfield Center, Connecticut, has appeared in many UCONN productions. Some of these performances include Life Is A Dream, MaratlSade, and, most recently, A Christmas Carol. In addition to performing, David is interested in theatrical design and stage direction. . JANET LEE MESSICK — Most recently Janet appeared as a Char woman and Caroler in A Christmas Carol. She is an undergraduate Acting major from Moodus, Connecticut, having l landed roles in Babes In Toyland and Life Is A Dream. In her spare time she enjoys singing and lifting weights. JANICE MOZEIKO — An Acting major, Janice comes to UCONN from Colchester, Connecticut. She has performed in such shows as The Crucible and The Many Loves Of Dobie Glllls in her hometowns of Colchester and Newington. This summer Janice hopes to develop a children’s theatre in East Haddam. DIRECTOR’S NOTE THE ELEPHANT MAN is a selective interpretation of the events in the last years of John Merrick’s life. Merrick was born in 1862. Due to a hideous physical deformity he was rejected by his family and society. He made a living by displaying himself as a sideshow freak. It was in the sideshow that he was discovered by Dr. Frederick Treves in 1884, and Merrick was brought by Treves to London Hospital for scientific study. He remained there until his death in 1890. During his years at the hospital, Merrick developed his speech, and his intellectual and artistic abilities. He was introduced to aristocratic London society for whom he became a cult figure. The play examines the society that at once embraces and rejects this tragic figure. Merrick’s inner beauty and purity become in creasingly apparent. The process by which he acquires the culture of that society is juxtaposed to Treves’ growing awareness of the social sideshow that he has created for the Elephant Man. The integrity of Merrick’s spirit remains un dimmed throughout the play. He has the courage to follow the truth as he sees it, as a heartfelt response. Merrick’s inner beauty can be an inspiration to us all.

— Mary Ashton 'ThfUti Gdten, Diet Counselor Fenton River Typing Service

Word Processing and Copying by appointment only Diet Center Janice Bittner Mansfield- Windham Moose Meadow Koad West Willington, CT 06279 456-0127 429-3134 211 Storrs Road CL

Thank you and our continued support from

TELEPHONE 423-7174 134 UNION ST. 872-3179 WILLIMANTIC, CONN.

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University Plaza SIOHKS WIIIIMWIH OWUlMtS MASS! II 11 > M limn MI I INI I '

...... I'll 157

DEPARTMENT OF DRAMATIC ARTS FACULTY Leon Bailey Nafe Katter Frank Ballard Jerry Krasser Jerome Birdman B. Robert McCaw Shaun B. Curran Robert McDonald Alicia Finkel James Monos James Franklin Donald Murray Sheldon Frome Jerry Rojo Michael Gregoric Jean Sabatine David Heilweil Valerie Schor John Herr Ardelle Striker Kay Janney

COMING EVENTS JAZZ DANCE ’84 March 7 March 8 Harriet S. Jorgensen Jean Sabatine’s Jazz Dance Company returns with a concert consisting of previous proven works and some new numbers.

THE BOY AND THE MAGIC (L’Enfant et les Sortileges) book by Colette. Music by Maurice Ravel March 30-April 14 Studio Theatre This musical puppet production depicts a naughty young boy who begins to repent when the victims of his pranks (among them an armchair, a teapot, and a grandfather clock) magically come to life. This lyric fantasy will stir the imagination of adults and children alike.

THE TAMING OF THE SHREW by William Shakespeare April 19-April 29 Harriet S. Jorgensen This rollicking farce portrays Petruchio persistently pursuing the beautiful, but headstrong Katharina. The male/female relationship is ex amined in one of Shakespeare’s lighter plays.

Eastbrook Florists 2 miles from campus at East Brook Mall ■ f$*$£ M Tsd% ’r%.

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158 159

Ross with Elephant Man Banner

Treves's Lecture with Slides 160 161

Pinheads' Dance

Belgian Policeman Kicks Merrick 162 163

Merrick Pleads for Help

Nurse Sandwich Screams — ' pjms.. 164 165

The Bishop and Gomm Argue

Goram Fires Will, Snork Looks On

167

Kendal Entertains Merrick

"He is just like me"

169

Gomm and Lord John

Treves’s Dream

171

Three Noble Ladles

Merrick with Cathedral Model 172 Photographs of Costume Plates

173 174

176 Ht4

•**»x

"wrn

I1lustrations

178 179

Designer's

i 180

Pictures From Which Slides Were Made Ground

Plan

A SELECTED BIBLIOGRAPHY Books Crouzet, Francois. The Victorian Economy. New York Columbia University Press, “1082. Erhard, Werner. A World That Works for Everyone. San Francisco Werner Erhard and Associates, T979. Evans, R. J. The Victorian Economy 1815-1914. London: Edward Arnold, Ltd., 1968.

Ferguson, Marilyn. The Aquarian Conspiracy. Los Angeles J. P. Tarcher, Inc. , I960".

Howell, Michael and Ford, Peter. The Illustrated True History of the Elephant Man. Middlesex Penguin Books, 1980. Pomerance, Bernard. The Elephant Man. Now York Samuel French, Inc., 19^0. Reid, W. Stanford. Economic History of Great Britain. New York Ronald Press, 1954" Seaman, L. C. B. Victorian England. London Methuen & Co., Ltd., 1973.

Newspapers and Periodicals Commonweal, March 30, 1979, p. 180.

"Elephant, Giant of a Play." New York Post, April 20, 1979, p. 35.

"The Elephant Man." Soho Weekly News, April 26, 1979, p. 62.

"Elephant Man. A True Triumph." New York Daily Nev/s, April 20, 1979, p. 5.

"The Elephant Man's New Lady." Staten Island Register, January 10, 1980. "The Enigmatic Author of The Elephant Man." New York Times, February 4, i960, p. ITT

181 182

Lawson, Steve. "The Elephant Man." Horizon, June 1979, p. 18.

"The Moral Message of a Victorian Freak." The (London) Times, February 4, 1979, Sec. D, p. 4.

"National Freak Show." (London) Observer, July 20, 1980. "Treading Too Heavy." Village Voice, January 29, 1979. p. 77. By Bernard Pomerance

The University of Connecticut School of Fine Arts Department of Dramatic Arts PHIL’S

Toys* Fabric* Not ions StationeryArt Supplies Famous Foot Long Cards & Gifts Sandwiches Hobby & Craft Items Open Monday-Saturday 10 Dog Lane in Storrs 429-6806 Phone 429-2600

7 DAYS WITHOUT mansfield A SUBWAY SANDWICH creatye WILL MAKE ONE WEAK dance council — OPEN LATE 7 DAYS A WEEK- 10 Dog Lane, Storrs. 487-1824

Classes for adults and children 121 NORTH EAGLEVILLE ROAD in dance technique, theater arts, STORRS yoga, t 'ai chi, aerobics, exercise

Tlw New Altnaveigh Inn under new ownership

Join us for an afternoon or evening of fine food, excellent service and gracious hospitality. Pork Florentine, Veal Oscar and a unique Stuffed Chicken Breast are just a few of our Chef's Specialties Open Daily Tues.-Sun.; Closed Mon. overnight accommodations reservations accepted • 429-4490 Rt. 195, Storrs, Connecticut

Full Menu till Midnight HuskiesFINE FOOD & DRINK After Dinner Drinks Cold Draft Beer 28 King Hill Road Wine Champagne 429-2333 Soft Drinks Munchies OPEN TILL 1 A.M. AIR CONDITIONED DEPARTMENT OF DRAMATIC ARTS SCHOOL OF FINE ARTS THE UNIVERSITY OF CONNECTICUT Director of Theatre Jerry Rojo General Manager Production Manager John Herr James Franklin presents THE ELEPHANT MAN by Bernard Pomerance Directed by MARY ASHTON*

Set Design Lighting Design Clay Massey Nina Chwast Costume Design Technical Director Stephanie Durston Shaun B. Curran Stage Manager Raymond Anthony Fisher

‘NOTE: This production is in partial fulfillment of the require ments for the Master of Fine Arts degree in Dramatic Arts/Directing for Mary Ashton. Ms. Ashton’s major ad visor is Dr. Leon Bailey. CAST (in order of appearance) Frederick Treves/Belgian Policeman...... James Lillie Carr Gomm/Conductor...... Max Caldwell Ross/Snork/Bishop Walsham How...... U. Jonathan Toppo John Merrick...... Geoffrey Dawe* Pinhead Manager/Lord John/ Will/London Policeman...... Wally Dunn Mrs. Kendal...... Allyson Surprenant Pinhead 1/Countess/Miss Sandwich...... Janice Mozeiko Pinhead 2/Princess Alexandra...... Janet Lee Messick Pinhead 3/Duchess...... C. J. Feldburg Orderly...... David Scott Meikle Cellist...... Aimee Kanzler

ACT I Scene 1 He Will Have 100 Guineas Fees Before He’s Forty Scene 2 Art Is As Nothing To Nature Scene 3 Who Has Seen The Like Of This? Scene 4 This Indecency May Not Continue Scene 5 Police Side With Imbecile Against The Crowd Scene 6 Even On The Niger And Ceylon, Not This Scene 7 The English Public Will Pay For Him To Be Like Us Scene 8 Mercy And Justice Elude Our Minds And Actions Scene 9 Most Important Are Women Scene 10 When The Illusion Ends He Must Kill Himself Scene 11 He Does It With Just One Hand Scene 12 Who Does He Remind You Of? — Intermission — ACT II Scene 13 Anxieties Of The Swamp Scene 14 Art Is Permitted But Nature Forbidden Scene 15 Ingratitude Scene 16 No Reliable General Anesthetic Has Appeared Yet Scene 17 Cruelty Is As Nothing To Kindness Scene 18 We Are Dealing With An Epidemic Scene 19 They Cannot Make Out What He Is Saying Scene 20 The Weight Of Dreams Scene 21 Final Report To The Investors *NOTE:This production is in partial fulfillment of the requirements for the Master of Fine Arts Degree in Dramatic Arts/Acting for Geoffrey Dawe. Mr. Dawe’s ma jor advisor is Dr. Robert McDonald. ABOUT THE CAST MAX CALDWELL — Max is our local Cape Cod representative and has held lead roles in a variety of shows. Most recently he was seen as Curly in Knuckle and the King in Life Is A Dream. One of Max’s interests is stage combat with an emphasis in fencing. GEOFFREY DAWE — Geoff, a resident of Arvada, Colorado, has had many leading roles both here at UCONN and at Baylor Univer sity. Geoff has played in the past such roles as Richard in Richard III, Richie in Streamers, Ward in The Wager, Clotaldo in Life Is A Dream, and Robert in The Betrayal, just to name a few. The role of Merrick is in partial fulfillment of the Master of Fine Arts Degree in Acting. Besides acting Geoff enjoys skiing and mountain climbing. WALLY DUNN — Wally is a second year MFA candidate in Acting who is from Warwick, Rhode Island. Wally received his Bachelor of Arts degree from Providence College. He has played various roles here at UCONN including Scrooge in A Christmas Carol, Marat in Marat/Sade, Mr. Badger in The Streets Of New York, and Mr. Hardcastle in She Stoops To Conquer. C. J. FELDBERG — C. J., a freshman acting major from Windsor, makes her UCONN acting debut in The Elephant Man. Before coming to the University, C. J. performed in the Windsor High School productions of Blackboard Jungle and Once Upon a Mat tress. Some of C. J.’s other interests include swimming, singing, and horseback riding. JAMES LILLIE — An MFA candidate in Acting from Washington, Pennsylvania, Jim was most recently seen as Bob Cratchit in A Christmas Carol. In addition to his many appearances on the UCONN stage, he is a Nutmeg Box Office Manager, a Lecturer in Acting, and was a participant in the 1983 Summer Workshop for Actors in English Classical Style. DAVID SCOTT MEIKLE — David, an undergraduate Acting major from Mansfield Center, Connecticut, has appeared in many UCONN productions. Some of these performances include Life Is A Dream, Marat/Sade, and, most recently, A Christmas Carol. In addition to performing, David is interested in theatrical design and stage direction. JANET LEE MESSICK — Most recently Janet appeared as a Char woman and Caroler in A Christmas Carol. She is an undergraduate Acting major from Moodus, Connecticut, having landed roles in Babes In Toy land and Life Is A Dream. In her spare time she enjoys singing and lifting weights. JANICE MOZEIKO — An Acting major, Janice comes to UCONN from Colchester, Connecticut. She has performed in such shows as The Crucible and The Many Loves Of Dobie Gillis in her hometowns of Colchester and Newington. This summer Janice hopes to develop a children’s theatre in East Haddam. ALLYSON SURPRENANT — Allyson is an undergraduate Acting major from Brooklyn, Connecticut. Recent productions she has been seen in include Marat/Sade, Life Is A Dream, and The Prime Of Miss Jean Brodie. When not involved with shows, she enjoys piano, dancing, and speaking foreign languages with her roommate. U. JONATHAN TOPPO — Hailing from Stamford, Connecticut, Jon has enjoyed his share of success on the UCONN stage. Some of his past performances include Marat/Sade and Streets Of New York. In addition he was selected to represent UCONN at the University Resident Theatre Association finals in New York City. AIMEE J. KANZLER — Aimee is a member of The Eastern Con necticut Symphony Orchestra as well as the UConn Symphony Orchestra. A resident of Norwalk, she has played the cello in Nutmeg Theatre productions of Gigi, Meet Me In St. Louis, and The Merry Widow. **A Special Thanks to Gary Carello, Randy Bostwick, Mary Lou Rylands, Jan Flood, Andy Sinclair, Coventry Antiques, Worm wood Hill Antiques, The Old Country Store, Coventry, Connect-' icut and The Mallard’s Nest, Crystal Lake, Connecticut.**

BE A PATRON This year, get a special feeling by being an active part of The Arts. Not only can you attend our exciting theatre events, but also become an elite guest of the UConn Nutmeg Theatre. The sum of $100, a portion of which is tax-deductible, entitles you to nearly that amount in ticket bargains and unique privileges: 1. TWO TICKETS for each production including the Summer Series! 2. FREE ADMISSION FOR TWO for each of the Department of Dramatic Arts Special Events Series! Last year’s events included a performance by Claire Bloom and Three Farces By Chekhov. 3. YOUR NAME APPEARS in every program and in the theatre lobby! 4. WINE AND CHEESE RECEPTION for patrons, cast, and crew after opening night performances! Please join us for an exciting year of theatre. We are looking forward to your support. Make checks to: UConn Foundation and mail to: Patrons, Dept, of Dramatic Arts, U-127, Storrs, Conn. 06268. For further information, call Nancy Kaiser at 486-4025.

I,______, would like to become a patron of The Department of Dramatic Arts. □ Enclosed is my check for $______□ Please call me at______for further information. Name______;______Street ______City______State______Zip______DIRECTOR’S NOTE THE ELEPHANT MAN is a selective interpretation of the events in the last years of John Merrick’s life. Merrick was born in 1862. Due to a hideous physical deformity he was rejected by his family and society. He made a living by displaying himself as a sideshow freak. It was in the sideshow that he was discovered by Dr. Frederick Treves in 1884, and Merrick was brought by Treves to London Hospital for scientific study. He remained there until his death in 1890. During his years at the hospital, Merrick developed his speech, and his intellectual and artistic abilities. He was introduced to aristocratic London society for whom he became a cult figure. The play examines the society that at once embraces and rejects this tragic figure. Merrick’s inner beauty and purity become in creasingly apparent. The process by which he acquires the culture of that society is juxtaposed to Treves’ growing awareness of the social sideshow that he has created for the Elephant Man. The integrity of Merrick’s spirit remains un dimmed throughout the play. He has the courage to follow the truth as he sees it, as a heartfelt response. Merrick’s inner beauty can be an inspiration to us all.

— Mary Ashton SPONSORS OF THE UCONN NUTMEG THEATRE Dr. & Mrs. Howard G. Abbott Mr. & Mrs. William F. Lott Marjory & Edward Adamy Dr. Philip I. Marcus Mr. & Mrs. Gordon B. Allan Mr. & Mrs. Matthew S. Mashikian Mr. & Mrs. Leonid V. Azaroff Walter & Diane McKain Mr. & Mrs. George A. Baker, Jr. Paul & Florence Misselwitz Mr. & Mrs. Greg Battick Robert & Mary Mogensen Henry & Althea Beck Dr. Nelly Nepomuceno Charles & Rosemary Best Mr. & Mrs. Eugene G. Nichols Mr. & Mrs. Willa Billings Mr. & Mrs. Robert B. Norris Mr. & Mrs. Jerome Birdman Mr. & Mrs. Charles A. Owen Mr. & Mrs. Albert C. Bollen Mr. Thomas B. Peters Mr. & Mrs. Stanley P. Bonk Mr. & Mrs. George E. Peters, Jr. George W. Bunce, D.M.D. Mr. & Mrs. Henry H. Ramm Joseph B. Burns Bertha & David Rappe Anonymous Mr. & Mrs. Gil Rau Lucy B. Crosbie Carl & Marian Rettenmeyer Wilda & Eugene Devine Agnes & Girard Rocheleau Dr. & Mrs. John A. DiBiaggio Jerome & Beverly Rosen William & Phyllis Dowd Gerald J. Rudman Nancy S. & George W. Fehr B., J., & N. Sachs Mr. & Mrs. James Filkoff Mr. & Mrs. Frank G. Sardo Calvin & Carole Fish Mr. & Mrs. Victor Scottron Dr. & Mrs. Robert Fish Karol & Jon Shafer Mr. & Mrs. Alfred J. Frueh Paul & Deborah Simpson Galvin G. Gall Mr. Louis J. Soprano Arthur & Caredeth Gillis Bruce M. & Sondra Astor Stave Mr. & Mrs. Francis D. Gillis Charles A. Swallow Mrs. Martin J. Gilman Mr. Herbert Tag Maryann’s Haircraft Dr. Sidney Vernon Evelyn Hartley John & Margaret Vose Mr. & Mrs. James P. Healy Walter J. Wadja, Jr. Pesaro’s Pizza Mr. George B. Wallis, Sr. Mr. & Mrs. C. Albert Kind Mr. & Mrs. Walter Wardwell Winfred & Dorothy Kloter Richard & Sonja Weber Mr. & Mrs. Youssef Kouatly Dolly & George Whitham Mr. & Mrs. Jack Hall Lamb Mr. & Mrs. Walter Whitworth Pat & Jerry LeGrand Mr. & Mrs. Jesse Williams Herbert & Eva Lederer Attorney Leslie A. Williamson, Jr. Mr. & Mrs. Gerald Leibowitz Robert & Diane Woods Richard & Mary Elizabeth Long Dr. & Mrs. D. Stuart Wyand

DEPARTMENT OF DRAMATIC ARTS ALUMNI Rick & Eileen Giarniero Ron Palillo

FRIENDS OF UCONN NUTMEG THEATRE Christopher H. Barreca Gwen P. Cordes Frank B. Ford Robert D. King D. Wesley Slate, Jr. Georgia Leigh Bills Carol A. Thompson JkfljtU GdLvi Diet Counselor Fenton River Typing Service

Word Processing and Copying by appointment only Diet Center Janice Bittner Mansfield-Windham Moose Meadow I^oad West Willington, CT 06279 456-0127 429-3134 211 Storrs Road ^______

Thank you and our continued support from

TELEPHONE 423-7174 134 UNION ST. 872-3179 WILLIMANTIC, CONN.

IMPORTED A CHEESE DOMESTIC CHEESES

N THINGS OVER 40 KINDS TO Rt. 195, Holiday Mall, Storrs CHOOSE FROM

Cheese - Gourmet Items ■ Gift Boxes Gourmet Coffees - Tea Samplers Gift Certificates - Cookies & Crackers Imported Candy - Spices - Fine Pate Smoked Summer Sausage and lots more! We’re more than just cheese! 487-0884

Fancy Pastry 4 for $1.00 Independent Bank & Trust When This Ad is Presented

University Plaza IORK' \\ 11 I I \ 1 \ \ iNM II N< )K W If V Mi-mhi'i I I UCONN NUTMEG THEATRE PRODUCTION STAFF FOR THE ELEPHANT MAN Nutmeg Theatre Technical Director...... Shaun B. Curran Assistant Stage Manager...... Jalayne Peterson Assistant Scenic Designer...... JimLyden Assistant Lighting Designer...... Mark Legrand Assistant Costume Designer...... Brian Wolfe Scene Shop Supervisor...... Peter Haentzschel Costume Shop Supervisor...... Judy Heywood Scenic Design Advisor...... Jerry Rojo Costume Design Advisor...... Alicia Finkel Lighting Design Advisor...... James Franklin Make-Up Advisor...... Nafe Katter Staff Scenic Artist...... Jay Jagim Properties Supervisor...... Brian Wolfe House Master Electrician...... Don Titus Scene Shop Graduate Assistants...... Nina Chwast, Todd Hannert, Donald Hirsch, James Lyden, John Mayer Costume Shop Graduate Assistants...... Norma Calontoni, Stephanie Durston, Frances Lautenberger Master Electrician...... JoelZufelt Carpenters...... Michael Pacocha, Terry Anderson, Steve Larsen, William Mullin, James Swonger Electricians...... Scott Meikle, Adam Macek, James Jacobus, Jill Jason, John Carr, William Shinoski Scenic Artist...... Roland Emerson Costume Construction...... Joyce Brookman, Michael Colavolpe, Inge Evans, Katherine Marling, Dawn Michaud, Becky Milligan, Mira Orlova Wardrobe and Make-Up...... Barbara Zambelli, Becky Milligan, Amy Lindsay, Robert Laughlin, Frank Ledogar Theresa Oliva, Leora Sparapini Properties Artisan...... Christine Kot, Allyson Surprenant Prop Crew...... Nancy Avitabile, Kim Lonsdale, Deb Rogers, Kara Kennedy Sound Engineer...... James Jacobus Set Construction...... Kim Squires, John Intellandi, Kenneth Blake, Steve Larson, Michael Bensche, John Carr

UCONN NUTMEG THEATRE MANAGEMENT STAFF FOR THE ELEPHANT MAN Management Assistants ...... Michael Colavolpe, Wally Dunn, Lura Hepler, Nancy Kaiser, Mimi McGrath, Rick Tamlyn, Peter Westerhoff Graphics...... Lise Plante Poster and Program Design...... William Kelly Photographers...... Greg Gendreau, Curt Matthew Printing...... University Publications Program...... Linda Cady House Manager...... Leora Sparapini Assistant House Managers...... Elizabeth Bonsai, Tom Fatsi, Richard Wilson Box Office Manager...... Priscilla Franklin Assistant Box Office Managers...... Lenny Egan, James Lillie Patron Program...... Nancy Kaiser Assistant to Director of Theatre ...... Mimi McGrath Assistant to General Manager...... Michael Colavolpe Administrative Secretary...... Josephine Gomez Financial Secretary...... Dorothy White 157

COMING EVENTS JAZZ DANCE ’84 March 7 - March 8 Harriet S. Jorgensen Jean Sabatine’s Jazz Dance Company returns with a concert consisting of previous proven works and some new numbers.

Eastbrook Florists 2 miles from campus at East Brook Mall .

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