The Real and Imagined History of the Elephant Man (2017) Program

THE REAL AND IMAGINED HISTORY OF THE ELEPHANT MAN 4 – 27 AUG

4 – 27 AUG MERLYN THEATRE

BY / Tom Wright DIRECTION / Matthew Lutton CAST / Paula Arundell Julie Forsyth Emma J Hawkins Daniel Monks Sophie Ross SET & COSTUME DESIGN / Marg Horwell LIGHTING DESIGN / Paul Jackson #THEELEPHANTMAN

COMPOSER & SOUND DESIGN / Jethro Woodward DIALECT COACH / Suzanne Heywood STAGE MANAGER / Tia Clark ASSISTANT STAGE MANAGER / Lara Kerestes BESEN PLACEMENTS / Kate Hood Tom Backhaus MONASH PLACEMENT / James Malcher

Thank you to the musicians who contributed to the original music for this production; Dan Whitton (Double Bass & Tuba) Jenny M. Thomas (Viola & Violin) and Neil Thomason (Engineer).

Recorded at Gap Head Studio.

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A NOTE FROM THE WRITER

This is an attempt to write a theatrepoem about the City and the Body.

In the case of Joseph Merrick, the two seem closely linked. Joseph was a product of the industrial midlands, growing up in the pollution and close confines of Leicester.

The architecture was that of terraced housing, brick privies, cigar factories, chimneys, mills, workhouses.

to destitution; women were seen wandering the lanes with what seemed like beards of bone and skin extending from their faces.

Mass production, big business, disfigurement, difference. Modernity was changing cities, changing bodies.

Joseph eked out his days in a cell at the hospital, making his cardboard models of cathedrals, taking tea with aristocrats—while on the other side of Whitechapel Road women were being found with their innards strewn on the pavement. One of the Ripper murders took place within screaming distance of Joseph’s window.

When destitute, he was taken to the great metropolis. Exhibited in the haze and smog of the East End, he became another curio in a city that was bulging with excess; the centre of empire, of industry, of science.

In this story, there are two main characters. There’s Joseph himself; glimpsed in twenty fragments of a real and imagined life; a once-off, a prize, an anomaly. And then there’s London; a big machine, breathing, coughing, spewing smoke and steam as it endlessly churns out simulacra.

­—— The authorised version of Joseph’s story comes to us from Frederick Treves, surgeon and gentleman, who discreetly casts himself as Joseph’s saviour, interpreter, even as his friend. Despite this, he never seems to get Joseph’s first name right and keeps referring to him as ‘John’. For Treves, Joseph is a cipher, a passive patient on which a great man’s genius and charity can be inscribed. In the famous 1970s play, Joseph seems to become a parable of a gay male coming-out.

David Lynch in the 1980s fashioned the story into an ironic take on high

­—— 1888. In the same East End, the Bryant & May match girls were on strike. The use of white phosphorous in their repetitive labour led to ‘Phossy Jaw’, a disease which caused the mandible to swell and abscess, the mutant growths glowing in the dark. The strike drove many

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TOM WRIGHT: TWENTY FRAGMENTS OF A REAL AND IMAGINED LIFE

humanism (I am not an animal. I am a human being), casting Joseph as an innocent, trapped in the monstrosity of childhood. In this retelling, Joseph dies by trying to imitate the image of a sleeping child on his wall. He curls up as if about to re-enter a womb.

It’s mawkish and cloying, but there’s something about it that rings true.

A Peter Pan from the id perhaps. ­——

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In this imagining, Joseph realises he’s being killed by kindness.

The hospital is both his salvation and his tomb. He knows his world isn’t real, and that he is utterly dependent on his nurses and visitors for any reality. He also knows his body follows a different paradigm to everyone else—it is a shifting thing, a changing shape—it doesn’t belong. So he wanders into the gigantic city from which he came, listening to the soot-laden stones and leaves.

And there he stands, specimen, statue, tree; nature as something rich and strange. He’s not there for our moral edification or as a talisman of difference. He’s just himself, and he doesn’t have to bear all our weight any more.

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A NOTE FROM THE DIRECTOR

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A NOTE FROM THE DIRECTOR

MATTHEW LUTTON: A BODY AND A CITY

In this theatrical work, the character of the city is constantly thinking: about bodies and machines, about hospitals and institutions, about cures and care, about exhibitions and entertainment.

We are not aiming to present a romanticised version of Joseph Merrick’s history; as outlined by the surgeon Dr Treves in his memoirs.

This retelling is a real and imagined exploration of a body (Joseph Merrick), and a city (London, 1888).

This is therefore the story of a man who is new, and a city attempting to evolve.

Merrick is a new man; a new body that no one in this city has the language for. He experiences rage and loneliness, protection and abandonment, inspiration and confusion. This is a Joseph Merrick full of contradictions, and a young man coming into his own.

The city that surrounds him is a character itself; entering a time of peak innovation and industry, automation and uniformity, and struggling to accommodate

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difference. It is a city that upholds strong social barriers and resists social change. Problematically, it sees a life like Joseph’s as a source of inspiration and pity.

It has the capacity to humanise, and to dehumanise.

The Real and Imagined History of the Elephant Man started with a curiosity about Joseph Merrick.

We were aware of the biographical events that turned his life into a myth—the ‘freak show’ appearances, his abandonment at Liverpool Street Station, the aristocrats he entertained in hospital—but what we were not fully aware of were the contradictions of his life and the time he lived in.

CAST & CREATIVE BIOS

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Tom Wright WRITER

Matthew Lutton DIRECTOR

Paula Arundell CAST

Tom has written a number of award-winning plays and adaptations, including Picnic at Hanging Rock, The Caucasian Chalk Circle, The War of the Roses, The Lost Echo, Lorilei, Medea, Babes in the Wood, Baal, Optimism, On the Misconception of Oedipus, The Histrionic, and Black Diggers. He was Associate Director of Sydney Theatre Company from 2004 to 2012. He is currently Artistic Associate at Belvoir (Sydney) and has worked as an actor and director at Playbox (now Malthouse), MTC, State Theatre Company SA, La Mama, Company B (now Belvoir), Anthill, Gilgul, Mene Mene, Bell Shakespeare, Chunky Move, Black Swan, and Chamber Made Opera.

Matthew Lutton is Malthouse Theatre’s Artistic Director and Co-CEO. Prior to this, he was Malthouse Theatre’s Associate Director, and the Artistic Director of ThinIce in Perth. For Malthouse Theatre, he has directed Away, Edward II, Picnic at Hanging Rock, I Am a Miracle, Night on Bald Mountain, The Bloody Chamber, Dance of Death, Pompeii, L.A., On the Misconception of Oedipus, Die Winterreise and Tartuffe.

For STC he has directed The Trial, The Mysteries: Genesis, and The Duel. Other directing credits include Love Me Tender for Belvoir and Don’t Say the Words for Griffin Theatre Company. His opera directing credits include Make No Noise for the Bavarian State Opera, Strauss’s Elektra for Opera Australia and West Australian Opera, and Wagner’s The Flying Dutchman for New Zealand Opera.

Malthouse Theatre: debut.

Griffin: Clark in Sarajevo, The Bleeding Tree. Belvoir: Mr Burns, Mother Courage, Angels in America Part 1 & 2, Peter Pan, Death of a Salesman, Gethsemane, Scorched, Paul, Peribanez, The Three Penny Opera. STC: A Midsummer Night’s Dream, Disgraced, Suddenly Last Summer, Macbeth, Under Milk Wood, The Mirage, Honour, Blackbird, Loves Lies Bleeding, Life is a Dream, The Three Sisters, The White Devil, Attempts on her Life, Love For Love, and Julius Caesar. Sydney Festival: Oedipus Rex, Symphony of Psalms. Mardi Gras: Elegies For Punks, Angels and Raging Queens. Bell Shakespeare: The Servant of Two Masters, Hippolytus, Antony and Cleopatra, Henry V, The Tempest and Much Ado About Nothing.

MTC: Company, Measure for Measure. Film: Harmony, Gods of Egypt, Disgrace, Bad Eggs, Sample People, Diana & Me. TV: Top Of The Lake: China Girl, Hunters, The Time of our Lives, Me and My Monsters, Slide, Farscape, All Saints, Murder Call, Children’s Hospital, Water Rats, The Alice, Out of the Blue, Home and Away, Love My Way.

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Julie Forsyth CAST

Emma J Hawkins CAST

Daniel Monks CAST

Julie’s theatre credits for Malthouse Theatre include: Night On Bald Mountain, Elizabeth: Almost By Chance A Woman, Happy Days, Moving Target, Exit The King (with Belvoir), Babes In The Wood, The Ham Funeral, Journal Of The Plague Year. Other theatre includes: The Popular Mechanicals (STCSA); Endgame, Private Lives, The Visit, Great Expectations, The Tempest, The Chairs, The Comedy of Errors, A Cheery Soul, After Magritte, The Real Inspector Hound, Man The Balloon (MTC); The Book of Everything, The Small Poppies, The Ham Funeral, The Caucasian Chalk Circle, Cloudstreet (Company B/Belvoir); The Dream, Phèdre (Bell Shakespeare); Romeo and Juliet, The Metamorphosis, The Miser, Old Masters (STC). Julie was a core member of Anthill Theatre, Melbourne, with whom she performed in over thirty productions. Awards: Helpmann Award for Best Female Actor in a Play (Happy Days) and Best Female Actor in a Supporting Role in a Play (Exit The King), and a Green Room Award for Best Actress (Kids’ Stuff). Julie was the recipient of the Sidney Myer Performing Arts Awards’ 2009 Individual Award.

Emma J Hawkins is an actor, dancer, singer and circus performer working across the performing arts. She has appeared in Love Never Dies (Really Useful Company), Big Bad Wolf (Windmill Theatre SA), Enunciations (Raspberry Ripple Productions), I Am Not A Unicorn (Self Devised), and Volpone (STC). She is well known for her work with physical theatre and circus, including Barely Contained (Circus Oz) and White Day Dream (Weave Movement Theatre) for which she was nominated for a Green Room Award for Dance. She has also performed in the classics King Lear (Round Earth Company) and The Maids (Atypical Theatre Company). Emma has been awarded grants for professional and project development from The Australia Council and is also the treasurer of Victorian Actors Benevolent Trust. This is her debut with Malthouse Theatre.

Daniel Monks is an actor, filmmaker and dancer for stage and screen. His stage credits include Are We Awake? (Old Fitz Theatre/Red Line Productions), Frank Enstein (The Farm/co3/ Bleached Arts), Orpheus (Lies, Lies and Propaganda/Suspicious Woman Productions) and The Wonderful World of Dissocia (The Kings Collective). His screen credits include Pulse (Beatnik Productions), Marrow (Daniel Monks Productions), Marley, Someone (Ildiko Susany), Go Happy Feet! (Sandbox Productions) and Gravel (Stevie Cruz-Martin). He was a finalist for the 2017 Heath Ledger Scholarship, and was nominated for Best Actor at the 2016 WA Screen Awards. He received the Arts Award at the 2015 NSW/ACT Young Achiever Awards and was awarded Young Filmmaker of the Year at the 2014 WA Screen Awards. He is also an Ambassador for the Starlight Children’s Foundation.

The Real and Imagined History of The Elephant Man marks his Malthouse Theatre debut.

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CAST & CREATIVE BIOS

CAST & CREATIVE BIOS

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Sophie Ross CAST

Marg Horwell SET & COSTUME DESIGN

Paul Jackson LIGHTING DESIGN

Sophie is an actor, dramaturg, devisor and educator. As an actor, Sophie has performed in Revolt. She said. Revolt again.

(Malthouse Theatre) Disgraced, Gross und Klein, Before/After, Hamlet, Blood Wedding, Money Shots, VS Macbeth, Oresteia, Comedy of Errors, Leviathan, The Mysteries: Genesis, Romeo & Juliet, Waikiki Palace/Hip Hip Hooray, Woman in Mind (STC), What Rhymes with Cars & Girls, The Waiting Room, Cock (MTC), The Sleepover (Arena), Narrative (The Royal Court), Ladybird (B Sharp), Stoning Mary (Griffin). Sophie is a proud member of Actors Equity.

Marg is a multi-award winning designer and the Designer In Residence at Malthouse Theatre. Marg has won seven Green Room Awards and two Sydney Theatre Awards for her work and was nominated for a Helpmann Award for Marlin (MTC and Arena Theatre).

Credits include: Revolt. She said.

Revolt again., The Homosexuals or Faggots, Edward II, I Am A Miracle, The Good Person of Szechuan, The Histrionic, Tame (Malthouse Theatre). Birdland, Peddling, Constellations, Cock, Music, The Dream Life Of Butterflies, The Water Carriers, Circle Mirror Transformation, I Call My Brothers (MTC).

Eight Gigabytes of Hardcore Pornography (Griffin), The School For Wives (Bell Shakespere).

Nora (Belvoir). Lilith The Jungle Girl, La Traviata, Summertime in the Garden of Eden (Sisters Grimm). Shit, Savages (Dee & Cornelius). Chapters From The Pandemic, Save For Crying, Wretch, Resplendence (Angus Cerini Doubletap).

Credits include: Away, I am a Miracle, Blaque Showgirls, Picnic at Hanging Rock, Meow Meow’s Little Mermaid, Edward II, Night on Bald Mountain, Hello, Goodbye and Happy Birthday, Little Match Girl, Die Winterreise, The Threepenny Opera, Vamp, The Tell-Tale Heart, Sleeping Beauty (also co-creator) The Odyssey (Malthouse Theatre). Love and Information, The Histrionic, The Trial (STC/Malthouse Theatre), True West, The Mysteries: Genesis (STC). As You Like It, Phedre, Tartuffe, Julius Caesar (Bell Shakespeare). Seventeen, Nora, Oedipus Rex, Happy Days, It Just Stopped (Belvoir). Private Lives, Miss Julie, Endgame, Ghosts, The Crucible (MTC). The Magic Flute, Don Giovanni (Victorian Opera). Crossing Live, The Hive, Teorema, The Possessed, Recital, Walkabout, Corruption (Chamber Made Opera). Awards: 2012 Helpmann Award for Lighting Design, four Green Room Awards for Lighting Design, one Green Room Award for Design, 2016 APDG Award for Lighting Design. Positions: Artistic Associate at Malthouse Theatre 2007-2013. Paul has lectured in design and associated studies at the University of Melbourne, RMIT and VCA.

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Jethro Woodward is a Melbourne-based composer, musician and sound designer recognised for his expansive and highly layered film, theatre and dance scores. He was the Composer for Chunky Move’s Anti—Gravity and L U C I D

by Anouk van Dijk. He has also worked with some of Australia’s leading major and independent companies including Malthouse Theatre, MTC, STC, Belvoir St Theatre, Arena, Chamber Made Opera, Windmill, MSO, Rawcus, Stuck Pigs Squealing, Fragment 31, Lucy Guerin, Australian Dance Theatre, KAGE and more.

Jethro won Green Room Awards for Meow Meow’s Little Mermaid (Malthouse Theatre), The Bloody Chamber, Moth, Goodbye Vaudeville Charlie Mudd, and Irony Is Not Enough. Recent works include, Permission to Speak (Chamber Made Opera) and Rumpelstiltskin (Windmill).

Tia Clark STAGE MANAGER Since graduating from WAAPA in 2009, Tia has worked as a Stage Manager in various sectors across the entertainment industry. Her previous Malthouse Theatre credits include: Revolt. She said.

Revolt again., Edward II, Picnic at Hanging Rock (with BSSTC), I Am a Miracle, Timeshare, Hello, Goodbye and Happy Birthday, Walking into the Bigness, Ugly Mugs (with Griffin), The Government Inspector (with Belvoir), The Bloody Chamber, Dance of Death, Hate, A Golem Story and Baal (with STC).

Tia has also worked on Anti— Gravity (Chunky Move), Grease (Gordon Frost Organisation [GFO]), A Funny Thing Happened on the Way to the Forum (GFO), Every Breath (Belvoir), The Rake’s Progress (Victorian Opera), Scooby Doo Live (Entertainment Store Group), The King and I, The Boy from Oz, Sugar (Some Like It Hot), Anything Goes, Kismet, Grey Gardens (The Production Company) and various live events in Melbourne and around Australia.

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Lara Kerestes ASSISTANT STAGE MANAGER A graduate of the VCA, Lara was the 2016 recipient of the Besen Director placement at Malthouse Theatre. Directing credits: Falling Petals, The Removalists, Il Signor Bruschino (Lyric Opera of Melbourne), Echo in our Walls (Outback Theatre for Young People), Fewer Emergencies, Sprout: A Radio Play, Tiger Country (Little Spoon Co.), Still, Pigeon, Sugar (Tamarama Rock Surfers’ Bondi Feast Festival), The 25th Annual Putnam County Spelling Bee, The Importance of Being Earnest, The Gipsy Dancer, A Squeaky Cabaret, Wolf Lullaby, SLAM, Cabaret, Bombshells. Assistant directing credits: Looking Glass (dir. Susie Dee), Edward II (Malthouse Theatre), Women of Troy, The Seagull, Roadkill, and Richard III (Siren Theatre Co.) Lara was previously a dramaturg intern with Playwriting Australia, and worked on two seasons of MTC’s Cybec Electric.

In 2017, she was nominated for a Green Room Award for Opera Direction. With over 15 years experience in the arts, Lara founded Squeaky Floor Productions in 2008, promoting fresh, contemporary Australian works while providing an space for artists to create and collaborate without limitation.

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Jethro Woodward COMPOSER & SOUND DESIGN

ABOUT MALTHOUSE THEATRE

WHAT HAPPENS NEXT At Malthouse Theatre we collaborate with local and international artists to create inventive performances that cut to the core of the human experience. #THEELEPHANTMAN

Theatre has the power to interrogate, disrupt and to be an agent of change— and we think it always should. At Malthouse Theatre the work we produce explores the world personally, socially and politically.

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BOARD OF DIRECTORS Fiona McGauchie (Chair), Debbie Dadon AM, Colin Golvan QC, Michael Kantor, Jan Owen AM, Sue Prestney, Pamela Rabe, Nick Schlieper, Kerri Turner & Mary Vallentine AO. ARTISTIC & PROGRAMMING Artistic Director & CO-CEO / Matthew Lutton Executive Producer & CO-CEO / Sarah Neal Resident Dramaturg / Mark Pritchard Resident Artist / Declan Greene Resident Designer / Marg Horwell Director In Residence / Sapidah Kian Producer / Toby Sullivan Associate Producer / Jason Tamiru #THEELEPHANTMAN

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Monash University and Malthouse Theatre enjoy a partnership built on a shared vision to celebrate excellence, opportunity, community and creativity.

Together they work to provide tomorrow’s artists with unique learning opportunities in a professional theatre environment, which is why Monash University’s Centre for Theatre and Performance program enjoys a reputation as one of the most outstanding and comprehensive courses of its kind in any Australian university.

The Centre aims to create theatre-makers and explorers by focusing on the study of the past, present and future of performance.

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SCENE & HEARD

The smoke machine used throughout the show proved to be a highly temperamental performer. You’d think that recreating Victorian London in Melbourne’s winter would be easy.

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