The Dresser

Ronald Harwood’s play is set in the dark days of World War Two in a run down, provincial theatre harks back to dying days of the theatrical tradition of the power of the actor-manager and their hold on everything to do with the production. In Frank Martino’s production for Dudley Little Theatre, there is a feeling of being slightly ill at ease when witnessing the decline of this once-powerful institution in front of our very eyes, which is conveyed with great skill across the footlights.

Sir, played by David Hutchins, has released himself from hospital in order to get back to his love of the Bard, is not well and this was excellently portrayed, as we all willed him to get better to fulfil his destiny. It is the long-suffering Norman, the dresser of the title, is also going to move heaven and earth to make sure his master gets on stage, although everything seems to be against him.  Richard Rowe-McGhie brought everything to this part – a confidence and orderliness in the absence of ‘Sir’ and an obsequiousness in his presence, showing a devoted and caring character that was played to perfection.

The action of the play is centred around the two main characters with the supporting cast offering valuable support.  None more so than Nic Lawton’s Her Ladyship showing the superiority of the character of the perennial leading lady, whatever the paly, whatever the part and yet there was a vulnerability that was subtly brought out as she too cared deeply for Sir. You could not feel anything but pity for Jackie Salter’s Madge, the officious Stage Manager who had held a candle for Sir for many years but was thwarted in any aims of getting to see him by Norman, the guardian. Two delightful distractions were Michael Willis’ Mr Thornton and Ellis Daker’s Mr Oxenby – thorns in the side of the company but when it really mattered, pulled together to ensure that, as the showbiz adage goes ‘the show must go on’.

Ellianna Boughton’s Irene had a secret to hide and Ellianna hid it beautifully, especially in a very moving and excellently acted scene with ‘Norman’, as he tries to get to the bottom of her relationship with Sir.

David Hutchins captured the essence of everything that you imagined the actor-managers of old were like.  The quoting of various apposite and utterly irrelevant lines from previous triumphs, the attention to the make-up, the insistence that scenes were set just as they should be – nothing out of place and requiring constant reassurance that his performance was nothing but award winning.  David managed to achieve superbly, despite having the script to hand, which didn’t hamper his performance and often became invisible as you appreciated his moving characterisation.

The stage as St. Peter’s Church Hall is not the largest but David Potter, Barry Salter and Richard Clee’s imaginative designed gave you the feeling of an utterly believable backstage set up with Dressing Room, Corridor and the wings including a very convincing storm as Lear (and ‘Sir’) descends into madness.

Richard Clee’s sympathetic lighting and Dave Holt’s great soundscape added to the atmosphere as did the realistic costumes from Phil Sheffield, Pam Griffiths and Sue Layton.

Thank you as always to everyone at Dudley Little Theatre for making me feel so welcome and for such a great theatrical evening.

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