Two-time Academy Award nominee Bradley Cooper (American Hustle, Silver Linings Playbook) returns to Broadway in Bernard Pomerance's Tony Award-winning classic THE ELEPHANT MAN. Directed by Tony nominee Scott Ellis, THE ELEPHANT MAN is one of the hottest productions to emerge from the prestigious Williamstown Theatre Festival, where it had theatergoers lining up hours ahead of time in the hopes of securing a ticket. This extremely limited engagement also stars Academy Award nominee and Emmy Award winner Patricia Clarkson ("Six Feet Under") and Alessandro Nivola (American Hustle).
Based on the real life of Joseph Merrick, THE ELEPHANT MAN tells the story of a 19th-century British man (Cooper) who became a star of the traveling freak show circuit. When the renowned Dr. Treves (Nivola) takes Merrick under his care, he is astonished by the man's brilliant intelligence, unshakable faith and, most of all, his resounding desire for love and understanding. He introduces Merrick to the beautiful actress Mrs. Kendal (Clarkson), who is deeply touched by this pure and genuine soul. As a complex friendship blossoms among the three, Treves and Kendal struggle to protect Merrick from a world of questionable intentions... and so begins a story of love as unique as "The Elephant Man" himself.
The Booth Theatre is one of Broadway's most intimate venues and seating is limited.
Advance purchase is highly recommended.
There's nothing subtle about the conceit, but it still works four decades later. And the credit for that belongs to Cooper, who was nominated for Oscars for "Silver Linings Playbook" and "American Hustle." To reflect Merrick's physical ravages, the Hollywood A-lister twists and holds his body in punishing positions. For two hours, he forges his mouth into a misshapen O and labors to speak. Grim stuff. But the production boasts ample humor, largely due to Cooper's delivery.
Cooper is the best Merrick yet, in a production sensitively staged by Scott Ellis first seen a couple of seasons back at the Williamstown Theatre Festival. Cooper and Ellis have their cake and eat it too: Although the star suggests Merrick's deformity with no more than a bent arm, a contorted mouth, twisted fingers and a hip-challenging limp, he is aided in the opening scene with blown-up slides of Merrick actually taken by Treves that leave no doubt about what both the man and his acquaintances actually had to contend with.
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