The Marvellous Elephant Man is one marvellous musical of Proboscidean playfulness. You may have seen a reprisal of the Bernard Pomerance play which premiered in 1977 or David Lynch’s 1980 film – both highly successful and dramatically awarded. The screenplay was based on a couple of books: one from 1923 and Ashley Montagu’s The Elephant Man: A Study in Human Dignity from 1971. That title says it all. And of course, there really was a Joseph Merrick (1862-90) whose deformities were so cruelly described. It was fortunate that the freak show was going out of fashion in Victorian England and Merrick, like in his play, his film and now his musical, is bounced from vilification and prejudice to understanding and love. The narrative arc in the musical is not Merrick’s but is masterminded for mirth without minimizing the man.
Marc Lucchesi with Jayan and Sarah Nandagopan have rewritten the ultimately redemptive story as a humourous Victorian melodrama brimming with hyper-real performances, witty lyrics, and catchy tunes. The producers quote a review thusly, “The Book of Mormon meets Beauty & The Beast” but I found it more like Rocky Horror meets Young Frankenstein.
The producer’s website shows a set encumbered by furniture, but the marvellous Spiegeltent compelled the action to be right out there and personal with the audience and scene changes were seamless. Consequently, the action was non-stop and the energy was soaring.
The villain, a mean doctor, is played so effectively by Kanen Breen he elicits boos. Ingenue-playing Annelise Hall excelled in emotional confusion. Marc Lucchesi - in a number of delectable roles he wrote for himself - took time off from leading Vaudeville Smash to satirise the Italian taste in women, score points against the English and mock the French. Hilarious! Ben Clark as John Merrick (John has always been his stage name) was an absolutely wonderful study of a human finding his place in the world after trauma. In the role with the most range, his Merrick desperately grasps at small hopes, is gracious with gratitude, is beaten by cruelty and demanding his dignity. Bravo! The chorus is kinetic, vibrant and enjoying themselves (Eden Read – choreography). The singing is wonderful. Once again, it’s Clark who steals scenes with agony and triumph expressed so beautifully in voice. The costumes – and there’s plenty of ‘em - are eye candy; a mix of the natty and naughty Victorian (Roberto Surace – set & costumes). Co-composer Sarah Nandagopan leads the musicians from the keyboards with panache. Sound designer Wayne Pashley spreads audio around just right while lighting designer Jason Bovaird masters the tricky lighting of a small round stage with colour and focus.
The Marvellous Elephant Man: The Musical is a brand new work with only one previous production, at last year’s Melbourne Comedy Festival. It’s clearly ready for the stage but maybe not Broadway. There were two possible endings before the ending that contained greater redemptive qualities. Pulling a revolver is meant to raise the stakes, but it’s a cheap trick – anybody can say, “Wait, I have a gun.” Everybody dies, like in Hamlet, but are resurrected for a happy ending. And where did that wolfman come from? A nearby production of Little Red Riding Hood?
In this original Australian production, co-directors Chris HF Mitchell and Olivier Award-winning Guy Masterson have led their team of creatives in gripping the Lucchesi/Nandagopan book and music and making theatre magic in all its glorious elements for a raunchy, fun, thoughtful and soundful night out. Double bravo!
PS Have a look at the website – www.marvellouselephantman.com - That is the handsomest and most well-dressed bunch in a clutch of program portraits I’ve ever seen!