Festival Theatre, Malvern – until 22nd January 2022
Reviewed by Courie Amado Juneau
4.5 ****
Ronald Harwood wrote The Dresser, drawing loosely from his own experiences. The show is a character study of old age, friendship, professional support, duty and genuine affection, reminding one of those gentle comedy classics that form our collective consciousness such as One Foot In The Grave.
Julian Clary (the Dresser, Norman) is, as expected, very funny with a natural comic sensibility. His asides and tiny comedic gestures were employed with masterful effect. I especially liked his “I had a friend” anecdotes which got funnier as the evening went on. What surprised me was that he is also a natural dramatic actor, displaying impressive emotional range. For those who only know his work from his 80’s TV persona this is a real revelation.
Likewise, Matthew Kelly (Sir) who is a doddery old man on his last legs one moment and booms forth in his Shakespearean actor guise the next. A remarkable change of pace which I found enormously impressive. Kelly gave a heart wrenching performance and is a magisterial stage presence (and not just whilst playing King Lear).
The principle ladies, Her Ladyship (played by Emma Amos) and Madge (Rebecca Charles) played quite similar characters who had given up much in the service of Sir, just like Norman, but who had had vastly different life experiences around the man they loved. Both of these accomplished actresses gave keenly wrought character studies which became thrilling when their emotions were given free rein.
Natali Servat (Irene) had her own moment to shine too, skill fully elevating her slightly ephemeral character into a fully fledged multi faceted character of surprising depth with impressive effect. I am looking forward to seeing what this talented new actress can achieve in larger roles in the future.
The first act segues skilfully into the second, introducing the immediate backstage area. The delayed entrance of the King (in the play being mounted for the fictional audience) and the off stage interjections from the cast were flawless and an absolute scream, especially from Samuel Holmes playing Mr Oxenby. It reminded me of the farce Noises Off (another example of a play within a play).
Pip Donaghy (playing Geoffrey Thornton) rehearsing his part of Fool was another highlight. Anyone who has been in a provincial G&S production will recognise the challenges faced by Sir of teasing a performance from an enthusiastic amateur whose body is willing but whose spirit has long since given up the ghost and whose talent knows no beginning. Am-dram at its most rewardingly joyful, sensitively presented here.
The ending had none of the schmaltz that Hollywood would slather over it. Indeed this feels like a play that only a British playwright could have written and is all the better for it. The surprisingly poignant ending was both believable and heart rending and gave Mr Clary his greatest opportunity to shine, which he duly did.
A thoroughly entertaining evening which I would not hesitate to recommend.