Broadway Theater Review: The Elephant Man with Bradley Cooper (Top Pick)

Bradley Cooper Transforms into Both Elephant Man and Stage Star Before Our Eyes
By Lauren Yarger
There is a reason Broadway’s The Elephant Man is doing gangbusters at the box office and has already recouped for its investors: it’s terrific.

Two-time Oscar nominee Bradley Cooper (“Silver Linings Playbook” and “American Hustle”) turns in what will surely be a Tony-award nominated performance in Bernard Pomerance’s play about Joseph Merrick, a horribly deformed man who became the toast of Victorian society in London.

Merrick (named John here and played by Cooper), suffers from a bone disease that causes elephant-like skin development, an oversized head and other deformities that make him an outcast. He finds himself living a horrible life in a workhouse, then as a sideshow freak under the cruel, exploitive management of a man called Ross (Anthony Heald).

He eventually finds his way to a kind doctor, Frederick Treves (Alessandro Nivola) who wants to study Merrick “in the interest of science.” He launches a public drive for funds and brings Merrick to London Hospital – at first against the wishes of its head, Carr Gomm (Henry Stram) -- where he is sheltered and finds the first “home” he ever has known.

While Treves lectures students about his subject, with the help of slides showing Merrick’s grotesquely tortured body, we see Cooper transform into the Elephant Man as each deformity is addressed. The performance, under the direction of Scott Ellis, who helmed this production in Williamstown in 2012, renders makeup, prosthetics or additional costuming unnecessary for Cooper to make the transition. It’s attractive Cooper (named People Magazine’s Sexiest Man Alive in 2011) up there on stage, but we see the Elephant Man. Clint Ramos designs the Victorian garb to remind us of the uptight, layered society in which Merrick lives.

The slides used in the performance, with the help of projection and expert lighting design (Timothy R. Mackabee, who also is scenic designer, and Philip S. Rosenberg, respectively), are actual photographs of Merrick taken by Dr. Treves in 1880. Additional mood is set by John Gromada’s original music and sound design as hospital curtains are drawn across the stage to change scenes. They are a constant reminder that Merrick, though in much better conditions, still is a subject of study and that society has a hard time accepting what it doesn’t understand.

As Merrick settles in, enjoying baths to lessen the odors of his flesh, and building a model of St. Phillip’s Church (still on display at the hospital), a strong friendship develops between patient and doctor. Treves works to bring in other people, especially women, to interact with Merrick. Mrs. Sandwich (Kathryn Meisle) thinks she is up to the task after having nursed unfortunates on missions trips, but finds she can’t deal with Merrick’s deformities. Treves finds success when he introduces a renowned actress and queen of London’s society, Mrs. Kendal (a delightful Patricia Clarkson who manages to steal some scenes). She throws herself into playing a role, but finds herself genuinely drawn to Merrick as a friend and as a man.

Merrick has an unshakable faith in God and in his salvation. He has some intelligent conversations with Bishop Walsham How (also played by Heald) and becomes the toast of society with royalty begging for an audience with him. While Merrick blossoms into his own person and enjoys as “normal” a life as he ever has known, the disease continues its progression, however. Pomerance’s play tells the moving story of Merrick, his courage and incredible outlook while making intelligent comment on society, both Victorian and modern.

Cooper’s astonishing performance is strenuous as he contorts his body into the misshapen man, walks with a limp and speaks with a slur. Clarkson is absolutely charming. They make a dynamic stage duo. My only complaint is that it sometimes was difficult to hear. Some dialogue should not be missed:

“Sometimes I think my head is so big because it is so full of dreams. . . do you know what happens when dreams cannot get out?”

Otherwise, The Elephant Man is one of the most enjoyable two hours of the season. It runs through Feb. 22 at the Booth Theatre, 222 West 45th St., NYC. Performances are Tuesday and Thursday at 7 pm; Wednesday, Friday and Saturday at 8 pm; Wednesday and Saturday at 2 pm, Sunday at 3 pm with some scheduling changes planned. Tickets $99 - $169: http://elephantmanbroadway.com

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