Ronald Harwood's The Dresser, currently at North Coast Rep, is a two-man play with a cast of seven. Placed in 1942 England, it is the story of a traveling troupe touring for months in the hinterlands. They go from city, town or village to the next, carting their meager props, flats and costumes by train.
We are offered the opportunity to view their life back-stage of a small town theater and in the dressing room of the star, Sir (Jonathan McMurtry). It is here that we meet Norman (Sean Sullivan), his dresser.
They have been together many years. They share lives that are as complex as any married couple. The imbalance is that Sir is the boss and Norman the man servant, further complicating the relationship. Sir is married to his co-star, Her Ladyship (Susan Denaker), a woman that has been with Sir too many years.
McMurtry and Sullivan seem born for these two roles. They contrast and complement each other to perfection. Opening backstage, the aging actor has to be coaxed into getting ready to go on. Putting on his makeup seems to take an eternity. Will he go on? Will they have to cancel the show? Is his advanced age debilitating his performance? How far does Norman have to pressure him to get ready?
Throughout the twists and turns of the play, we watch their relationship through its many variations. Norman protects him against anything that will upset his routine prior to showtime. He becomes harsh with anybody that might alter the daily ritual. His devotion is complete. Her Ladyship has less patience with her husband.
Another who has been in the company for many years is Madge (Lynne Griffin). She has stage managed the shows for years. She is the mother of the company, always worrying, demanding, cajoling, and, when absolutely necessary, showing compassion.
Other actors in the company include Oxenby (Jason Maddy), a rather embittered sort, gruff and antisocial, but still a person who will take on additional jobs to assure the show goes on. Geoffrey (Mark Petrich) is seemingly insecure but still a trouper, while the youngest member of the ensemble, Irene (Kali Kirk), is an actor, a messenger, and tympani player.
As to be expected, Marty Burnett's two-location set seems totally authentic. Matt Novotny's lighting design complements the set and players. The sound design by Sam Lerner set the mood for the production. Michelle Hunt Souza's costumes, both theatrical and streetwear, are convincing. Props and Set Dressing are in the very capable hands of resident designer/dresser Bonnie Durben.
One comes to expect the highest of quality out of productions directed by David Ellenstein, and The Dresser definitely meets those standards.
L-R: Jonathan McMurtry & Sean Sullivan
