The Dresser

The Dresser was not a show I was familiar with in the slightest, but The Southwick Players' portrayal of Ronald Harwood's classic drama was beautifully realised from start to finish. When I arrived at The Barn Theatre, I was warmly welcomed by Amanda, Vice President of Southwick Players, who provided me with valuable background information about the production, as well as details about my generously provided interval drink.

The set depicted a simple dressing room, beautifully decorated with appropriate Second World War iconography and complete with an actor's make-up station. Once rotated, it revealed the stage manager's corner alongside the backdrop for the company's performance of Shakespeare's King Lear. The entire set was expertly crafted and painted, creating the convincing illusion that the audience was right there in the dressing room with the characters. It became almost an ensemble member in its own right.

The play begins by introducing Norman (Roger Butler), the devoted dresser to the ageing actor Sir (Bob Ryder). We are also introduced to Her Ladyship (Sarah Papouis), whose portrayal perfectly captured the concern and loyalty of a wife caring for her increasingly frail husband. As the play progresses and the fractures in Sir and Her Ladyship's relationship are exposed, revealing years of hurt and resentment hidden beneath the surface. Papouis delivers an emotionally compelling performance, commanding the stage with quiet strength.

We also meet Madge (Claire Coull), the company's stern and uncompromising stage manager. Coull was superb as the overworked, business-focused Madge, drawing the audience's attention whenever she entered the stage. Her final scene, in which she removes Sir's ring after his death, was particularly moving, subtly revealing the unspoken love and devotion Madge had always held for him.

Emily James played Irene, an aspiring actress new to the theatre world and eager to make her mark. James portrayed Irene with warmth and sincerity. Her uncomfortable scene in Sir's dressing room on the chaise longue, followed by Norman's jealous reaction, was delivered with excellent comic timing. Her performance, along with her use of the drum, also provided welcome moments of light relief in what is otherwise an emotionally weighty play.

The role of the obnoxious Mr Oxenby/Edmund was played by Jamal Riaz. Riaz was highly entertaining as the pompous actor with his brash opinions. He strode confidently around the stage, clashing with Sir at every opportunity. His delivery was well timed and comical, while his Tudor costume looked striking under the stage lights. Riaz gave a lively and engaging performance.

Frank Horsley played Geoffrey Thornton, a long-serving member of the theatre company who is frequently cast in minor roles and is unlikely ever to achieve stardom. Horsley generated plenty of laughs as he entered in full jester costume, preparing to perform in King Lear. Geoffrey's constant need for reassurance about his acting abilities was clear as he sought approval from the increasingly frail Sir. Horsley was perfectly cast and portrayed the character with confidence and charm.

Kent, Gloucester Albany and the Knight, played respectively by Nigel Bubloz, William Smith, Peter Plumb and Ron Common, provided much of the comedy during the King Lear sequences, particularly when Sir forgets his entrance. This group worked seamlessly together, delivering their scenes with confidence and excellent comic chemistry.

Finally, I have to return to the undeniable standouts of the evening: Roger Butler as Norman and Bob Ryder as Sir. These two carried the emotional weight of the production and held the audience's attention throughout without missing a beat. In what could easily be perceived as a slower paced play, the chemistry between Butler and Ryder ensured that every moment remained engaging.

Butler gave an engrossing performance as Norman, handling an enormous amount of dialogue with remarkable ease and making it appear completely effortless. Meanwhile, Ryder delivered a wonderfully believable portrayal of the ageing actor Sir, convincing the audience entirely that this exhausted, ailing performer had escaped from hospital simply to perform his 227th appearance as King Lear. He tackled lengthy passages of dialogue, including Shakespearean verse, with passion, conviction and authority. Both performances lingered in my mind long after I left the theatre.

The lighting and costumes perfectly complemented the wartime setting, while the sound design, particularly the air-raid sirens, reinforced the atmosphere of Britain during the Second World War. Credit must also go to director H. Reeves, whose thoughtful direction brought Ronald Harwood's touching, humorous and ultimately heartbreaking play vividly to life. It was a thoroughly enjoyable evening of theatre and another impressive production from Southwick Players

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