The Dresser- A Real Treat From Start To Finish

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Penny Flood enjoyed this revival of Ronald Harwood play at the Richmond Theatre

This is a terrific revival of Ronald Harwood's great, emotionally complex, tragi-comedy about the odd relationship between an aging thespian known only as Sir (Ken Stott) and his dresser, the deliciously camp Norman (Reece Sheersmith). Stott and Sheersmith are perfect in their roles with the self-deluding Sir's obnoxious behaviour and Norman's bitchy waspishness, fuelled by several covert swigs of brandy, barely concealing a desperate neediness in both of them.

Sir runs a third rate touring company putting on Shakespeare for the provinces, bemoaning that the fact that his crew has been reduced to cripples, old men and Nancy boys, as all the young men have been called to the front. Which is more or less true as we see from the rest of the cast.

All the action takes place one evening as they prepare for a production of King Lear. It opens in Sir's dressing room, Sir is late and Norman, together with the two women in Sir's life - his wife known Her Ladyship (Harriet Thorpe) who also plays Cordelia to his Lear, and heavy footed, no-nonsense stage director Madge (Selina Cadell) Madge who, Norman observes, walks like someone is playing Onward Christian Soldiers - are getting worried. When Sir does arrive it's clear something is terribly wrong.

It's set in 1941 during the war so things are frequently interrupted by air raid sirens and bombs. This adds to the tension and the hilarity as one bombing raid coincides with the storm scene in Lear. It's priceless, one of the show's highlights.

But humour is tinged with sadness as it becomes clear that Sir is losing his grip on reality.

The second act opens backstage as Sir's Lear finally gets under way (Sir can function better on the stage than in the real world) moving back to the dressing room via a revolving stage, at which point things begin to get really serious and more complicated with a distinct change of mood. Slick direction by Sean Foley keeps it all moving at a cracking pace, with plenty of nice touches such as when Geoffrey the aging, bespectacled jester (Simon Rouse) practises a little caper when he thinks no one is looking. And Ken Stott dressed only in his boots and baggy underwear, barely concealed by his dressing gown, is a sight to behold as Norman flaps around trying to cover him up.

And so they all muddle through until it comes to its sad but not unexpected ending. It's a real treat from start to finish.

Penny Flood

 

 

September 15, 2016