‘Elephant Man’ an enlightening experience

Bernard Pomerance’s 1979 Tony-winning play “The Elephant Man” brought public attention to the real-life story of John Merrick, the young Englishman whose extreme deformities doomed him to side shows in the 1880s.

Unlike the 1980 film that created Merrick’s outward appearance with prosthetics, the play relies on the actor’s own body without any special makeup. When successful, he makes the audience “see” the disfigurements, as well as Merrick’s inner spirit.

In Theatre in the Park’s production, Ira David Wood IV’s multi-layered portrayal reaches great heights, engaging the audience fully throughout. He skillfully transforms himself into a limping, misshapen Merrick, frightened and isolated at first but blossoming into a witty, intelligent gentleman during his four-year residency at a London hospital. Wood’s projection of Merrick’s curiosity, child-like honesty and eagerness to be “normal” results in a number of deeply affecting moments.

Wood’s several scenes with Lynda Clark supply the production’s most vibrant sections. Clark completely inhabits, but doesn’t overdo, the role of famous actress Mrs. Kendal, brought in to allow Merrick interaction with a female. Clark’s talents are on display at her first appearance, garnering solid laughs after each of her six opening lines. She also makes a subtly wrought transition from being Merrick’s hired acquaintance to becoming his trusted friend.

Ira David Wood III plays Dr. Frederick Treves, the surgeon who takes an interest in Merrick’s condition and arranges for his hospital care. Wood easily limns Treves’ Victorian propriety, scientific zeal, and ultimate realization that he’s treated Merrick heartlessly. It’s a text-heavy role, especially the philosophical monologs, in which Wood struggled for lines at Friday’s opening. Attempting double duty as director may account for the production’s ponderous pacing and sometimes awkward staging. Placing the intermission only 45 minutes in (before Mrs. Kendal appears) also unbalances the story’s arc and make for a slow, 80-minute second act.

Few of the 16 additional players go beyond adequate, with Randall Stanton’s Ross (Merrick’s side show manager) and Chris Milner’s Bishop How going beyond that.

John McIlwee’s Victorian costumes give the production brilliant theatricality, while Thomas Mauney’s richly appointed, multi-level set and gaslit, murk-filled lighting add professional polish.

More performances will likely tighten the pace of this lengthy evening that nevertheless provides a moving, enlightening experience.

This story was originally published April 11, 2016 at 9:33 AM with the headline "‘Elephant Man’ an enlightening experience."