Ronald Harwood's tragi-comic play first performed in 1980, is a perfect choice for the Caxton Players to stage. It brings the glamour of old-school grand theatre to the stage of a small provincial theatre not unlike the stage at the Caxton itself. It tells the story of a showbiz duo - a grand Actor Manager and his loyal and ever-present help named Norman. Norman is the Dresser of the title and the actor is merely referred to by the grand title of "Sir" by all and sundry throughout. A dresser is the person who remains unseen by audiences and yet skilfully assists the lead actor by seeing to their every need and quite literally dressing them in preparation for the stage. Though a full-cast play, Harwood's piece de resistance is a showcase two-hander for the vast majority of its runtime.
Director Debra West brings a deft touch to the direction of her troupe of players and sympathetically presents the ragtag team of aspiring and in some cases slightly over-the-hill actors in a touring production of King Lear. The comparison to the play they are touring and the play which the audience sees backstage is noticeable, as the main character would appear to be an ageing man, once of great talent and importance fighting against the ageing process. However, The Dresser is much more than this, it is a marvellous study of the human condition, of man's quest for purpose in life and his need to be acknowledged and noted for what he has done. As the title suggests, this is not the journey of Sir, but the journey of the wonderfully catty Norman, so often ignored, overlooked or underestimated by those around him.
As the glorious actor "Sir" Chris Dempsey is wonderfully dotty and slightly confused whilst retaining a high degree of pomposity and inflated ego despite his glory days being well in the past. He has become something of a liability and despite moments of lucidity and quiet reflection, poses a threat to the entire show as his ailing health causes him to wander, to lose focus and for his memory to slip. It is a difficult role to play convincingly and yet, as Dempsey dons the stage make-up that leaves him unrecognisable to those who know him, he grows in stature as an actor playing Sir. Sir's confusion and his alienation is clear and at times rather distressing in this convincing performance by Dempsey and is well worth seeing.
It is the character of Norman that steals the show though, the self-effacing and humble man who understands his own worth and realises that he has been defined by his job. He asks for little in return for his service but there is such a melancholic aspect to the role that audiences will feel immense sympathy and understand why his closeted nature and his persistent drinking are part and parcel of who he is. This is possibly Caxton favourite Byron Young's most accomplished performance to date and demonstrates a high level of proficiency as an actor. He will charm and amuse those lucky enough to witness this performance, and he may just break the audiences' hearts whilst doing so.
As Sir's partner and the leading lady of the company, Jo Forster is so utterly convincing as "Her Ladyship", another old school actor late in her career. She is the very epitome of a battleaxe and woe betide those who dare to cross her. Her scathing presence and deeply unpleasant edge is well-presented by Forster and is a very different character than we have seen before. It is difficult to play such an unlikeable harridan and yet Forster does so with aplomb.
In another convincing performance, Vivienne Sargent plays Madge the long-suffering yet immensely capable stage manager - the glue holding this creaky production together. She knows her place and Sir understands her worth. Without Madge, the company would collapse under the weight of its own ego and eccentricities. Sargent gives a wonderfully likeable performance. Sargent perfectly presents the safe pair of hands necessary in every production (a role fulfilled in real-life by the wonderful Carole Mooney as Stage Manager on this production!). Stage manager and indeed ALL backstage crew make productions tick and it is fitting that Sargent's performance reminds us of that fact.
Liv Pearson plays the young ingenue within this production. Irene is an aspiring actor who unlike the majority of players is at the beginning of her career and eager to learn from those who have shone so brightly before her. It is a privilege that Irene appreciates and is willing to do what is necessary to further her career. Pearson gives an unashamedly knowing performance and makes capital of her presence, youth and vitality, Irene is content drawing the ire of Her Ladyship who fully understands that she used to be Irene earlier in her own career. It is not a large role but Pearson delivers a well-observed performance.
John Solley presents Geoffrey, a day player called upon to perform as the fool in King Lear at the last minute following the arrect of the regular actor. Geoffrey is a performer who undervalues himself and is just happy to be in employment, though this view is subject to change. Solley delivers a wonderfully dour performance with the perfect hangdog expression for a man who is happy to plod on in life until opportunity knocks.
Lastly, Bob Watson plays the bombastic and ambitious Oxenby, a man who resents Sir and the power that he wields. Oxenby sees Sir as the past and himself as the future of theatre and his viper-like barbs and quips remind us that he is a man we can ill-afford to cross. Given the nature of Oxenby, Watson succeeds in surprising the audience when ultimately mucking in for the benefit of the company.
I thoroughly enjoyed seeing this new production of The Dresser by the Caxton Players. West has done a terrific job in creating a plausible facsimile of a slightly seedy touring company during WW2, struggling to fill roles, unable to cope properly with the vagaries of an ailing leader. The play is funny, at times laugh-out-loud funny, and emotional, it will touch the audience deeply on a human level. I highly recommend this production and commend the performers. I was transported back in time and charmed by the web they weave. The show opened on Saturday 19th October and will run until Saturday 26th October. Tickets are available through all the usual outlets.
Andy Evans 19 October 2024
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