Theatre review: The Dresser at the Alhambra

LOOSELY based on his years spent as dresser to Sir Donald Wolfit, Ronald Harwood’s play closely focuses on the relationship between an actor, Sir (Matthew Kelly), and his faithful but sorely under-appreciated dresser, Norman (Julian Clary). Spanning one day in 1942 when Sir has had some form of breakdown and disappeared just as he’s due on stage, The Dresser, explores the challenges a touring provincial actor and manager faces whilst also highlighting the sacrifices those around him must make.

While society struggles through multiple strains of Corona, desperately trying to normalise the situation, the work ethic of Harwood’s protagonist seems particularly apt for the current climate; Sir stubbornly insists on King Lear continuing, despite his clearly fading mental faculties and air raid sirens warning of imminent danger.

Tim Shortall’s set takes the audience inside a small dinghy dressing room of a dilapidated theatre, the roof area above, a backstage corridor and a special effects balcony. This allows the action of Harwood’s play to move between pre-show jitters, interval dramas and behind the scenes as “Sir” struggles through yet another performance of a lifetime.

Kelly is well-suited to Sir, wildly wavering between pomp and the pitiful ravings of a man dangerously teetering on the edge. One moment he arrogantly boasts “They can’t build a camera large enough to capture me” and another he sadly reflects “The most wonderful thing in life is to be remembered”.

Supporting cast certainly don’t disappoint but as the titular character Clary less expertly manages Norman’s complex and largely suppressed emotions. His character has dressed Sir for sixteen years’ worth of theatre productions and received little recognition or reward for his support and hard work. As Norman, Clary has a staggering amount of quick-fire lines to remember and does best verbalising Norman’s frustrations or bolstering Sir but never really quite convinces. Despite, steadily drinking from a replenished hip flask throughout the show, his character never really significantly alters. This role is a far cry from the London Palladium pantomimes Clary’s become known for and while not wholly successful, is impressive nonetheless and certainly doesn’t detract too much from the show’s overall success.

The dynamic between the leads is at its best when Norman practises lines with Sir or the characters’ long shared history is obviously apparent. A scene backstage is especially fun to watch as the whole cast rally to create storm sound effects loud enough to satisfy Sir. There’s a touching exchange between Sir and his Director, Madge (Rebecca Charles). A conversation between Sir and the youngest company member, Irene (Natali Servat), is less comfortable viewing and one of the many indicators the play has perhaps not aged well.

Although dated, The Dresser’s subject-matter provides fascinating insight behind the scenes and the play’s universal themes (unrequited love, repressed sexuality and mortality) remain relevant, gently nudging audiences to reflect.

by Leo Owen