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SSLqThe Elephant ManSSRq
The production of Bernard Pomerance’s 1979 play “The Elephant Man” that opens at the Victorian Players tomorrow night for a three-weekend run boasts not one, but two directors (seasoned veteran Christopher Fidram and relative directing neophyte John Cox). Because of that unusual backstage configuration, I decided to team both gentlemen up for a joint interview to discuss the show and their novel working relationship.
Q: Who originally came up with the co-directing idea?
CF: Actually John brought up the idea to me last winter. Neither of us were familiar with the script, but the “The Elephant Man” concept captured our imaginations. It had all the ingredients of literary folklore like “The Phantom of the Opera” and “The Hunchback of Notre Dame”: a tormented, disfigured creature who longs for love and acceptance. But as we read the script, we better understood this wasn’t the stuff of sensationalized fiction. John Merrick actually existed. He was intelligent and complex. The issues he dealt with were timely ones, from discrimination to health care. And, of course, celebrity. It reminded me of present-day society and how we continue to treat our “social oddities.” If you have eight children, you get a TV show. If you’re a dowdy, middle-aged woman with a great singing voice, we’ll make you an overnight star. But then it’s our right to exhibit you, criticize you and eventually forget about you. When we remove such individuals from their humble surroundings and thrust them into the spotlight, are we really doing it for their benefit or ours?
And since working at the Victorian Players was something I’ve wanted to do for years, we jointly pitched the idea to their play-reading committee. They accepted our offer and we were delighted.
JC: The play takes place in the Victorian era, so we had that going for us, too (laughs). But seriously, it’s always great doing a show at a new venue. It’s stimulating and really helps spark my imagination. Every space has it’s own unique qualities that it can bring to a show — trying to think of ideas, using the space to add to the show. It’s been a lot of fun for both of us.
Q: How does the dual director thing work? Do each of you have different roles (e.g., one works with the principal actors while the other concentrates on the supporting players)? Does it ever get confusing when you give cast notes?
JC: It’s something we never really mapped out ahead of time, and yet it’s a fluid situation that seems to be working for us. After coming off my two Youngstown Playhouse shows this summer (“Barefoot in the Park” and “Blues in the Night”), it’s great to have Chris’ insight and all of his prep work. We work well on stage together, so this kind of feels the same actually. We both understand that all good things come from collaboration Plus, this has been like grad school for me as a director.
Q: Chris, you had some interesting ideas about the visual design/look of the play.Have you been able to incorporate any of your original vision onto the Vic’s stage?
CF: The Vic is a gorgeous little theater, and their intimate space beautifully complements the play. But there are limits as to what can be done with lights and heavy set changes. Few community theaters have the luxury of extravagant and revolving sets. Those obstacles challenged us to delve deeper into the characters, and to focus more on the actual story. John Merrick didn’t walk around with mood lighting in real life anyway (laughs).
Q: What should people who only know “The Elephant Man” from David Lynch’s Oscar-nominated 1980 film version expect going in? In what ways — large and small — does (Bernard) Pomerance’s play differ from the movie version?
JC: The play is much simpler than the movie: more stripped down and, I think, truer to life. It deals more with the individuals and their relationships. And there isn’t any make-up.
CF: Even if we had the budget to create a costume resembling John Merrick’s physical deformity, we wouldn’t have done it. The intent of the play is to strip away all of the artifice surrounding his appearance and reveal the actual man. So a great, lumbering costume wouldn’t have helped matters.
JC: It helps let people know that no matter what you look like you can feel like a freak at certain times in your life. The lack of make-up personalizes it more while still suggesting Merrick’s true appearance.
Q: Who’s in the show?
CF: It’s an 11-member cast in which several actors handle multiple roles. John Pecano plays Merrick and Matthew Dibattiste is our Dr. Treves. It’s always a pleasure working with John. Matthew is a veteran of musical theater, and we’re elated that he’s finally decided to venture into straight plays.
Q: One of the most famous scenes in the play is when Mrs. Kendal strips before Merrick after he confesses that he’s never seen a naked woman before. How are you going to pull that off with the Vic’s “G” and “PG”-rated mission statement?
CF: Very carefully (laughs).
Q: Is co-directing the wave of the future in community theater? Would you ever consider working together again in this fashion (or with a different co-director)? Or is this a one-shot experiment for both of you?
CF: John is my buddy. He’s also one of he most talented actors in the area. I love working with him in a creative environment and exchanging ideas.
JC: Surrounding yourself with smart, talented people and walking the tightrope with them — minus a net — is awesome. I love the whole process that goes into each show, and directing with Chris has been a wonderful experience. It’s always fun to go on a trip with a friend, and this has been no different.