Photo by Curtis Brown Photography
Bill Hayes (standing) plays Norman, the dresser for Actor-Manager Sir (Colin McPhillamy)
By AARON KRAUSE
While Ronald Harwood’s celebrated play The Dresser offers a backstage glimpse of live theater, ultimately the piece is not about the art form, according to Bill Hayes.
“It is a play about love and friendship and trying to come to terms with our place in the world,” Hayes says.
He should know. After all, Hayes portrayed Norman, one of The Dresser’s main characters, when Palm Beach Dramaworks (PBD) staged a production of the piece about two decades ago. Now, Hayes, an actor as well as the professional, nonprofit company’s Producing Artistic Director, is about to reprise his role in PBD’s revival of Harwood’s play. In fact, it officially opens tonight, Dec. 20. And it runs through Jan. 5 in PBD’s intimate space on Clematis Street in West Palm Beach.
“This play was one of the first plays we produced in our early days (and) the first production to draw a large audience,” Hayes says.
Harwood is perhaps most famous for his screenplay The Pianist. He based The Dresser on his experiences as dresser to English Shakespearean actor-manager Sir Donald Wolfit. He is the model for the character Sir in the play.
The Dresser is a backstage story. It centers on a small theatrical touring company around the English countryside during World War II. And in that company is a veteran actor-manager, Sir, as well as his dresser, Norman. Harwood zeroes in on the relationship between the two.
More specifically, Norman is struggling to prepare Sir to once again take the stage as the titular character in William Shakespeare’s tragedy, King Lear. Unfortunately, Sir is experiencing mental difficulties. For instance, he cannot remember his lines for this role. That is shocking when you consider that Sir has portrayed the title role in King Lear nearly 230 times.
Sir may be physically present at the English theater where the company is gathered for the performance. However, his mind is elsewhere.
“Sir finds himself looking back on a lifetime in the theater,” says the production’s director, J. Barry Lewis. “And he finds himself sort of beginning to falter somewhat in his ability as an artist.” Lewis adds that Sir begins to question his purpose. For example, has he made a difference in the world as an artist?
Perhaps his doubts and the stress from juggling multiple responsibilities has taken a toll on Sir. Indeed, he is an actor-manager.
The actor-manager system of theatrical production was widespread in England and the U.S. during the 19th century. Specifically, it consisted of a permanent company formed by a leading actor who not only played major roles onstage, but handled the business and financial affairs of the company. This system’s advantages became obvious during the 18th century. That is when successful actor-managers such as Colley Cibber and David Garrick achieved results superior to those of theater owners who hired occasional casts for individual plays.
The system of actor-management waned in the 20th century. That is when stage managers and later theater directors replaced actor-managers. Several factors adversely affected the system, such as the increasing cost of mounting theatrical productions and more corporate ownership of theaters.
“The actor-manager was responsible for all the artistic decisions his company would take, usually touring on the road, but also all the business decisions,” says veteran actor Colin McPhillamy, who will portray Sir. “So, there was an enormous responsibility. Not only did you have to deliver artistically, but you had to, you know, you had to meet the payroll as well.”
McPhillamy, who has performed extensively on stages from Broadway and off-Broadway to London and Australia to regional theaters across the U.S., says that each role he has taken on is a favorite for him.
Is this a dream role?
“Of course!” he says as though that should be obvious. “A bombastic, self-obsessed bravura actor – come on!”
He says he is familiar with the play, having seen the West End production during the 1980s, as well as a British regional production.
The Dresser is a “masterpiece” that is a “love letter to the theater,” McPhillamy says.
The piece was nominated for “Best Play” honors at the Society of West End Theatre Awards for 1980. Today, it is known as the Laurence Olivier Awards.
In the U.S., The Dresser opened on Broadway at the Brooks Atkinson Theatre on Nov. 9, 1981 and ran for 200 performances. The play was up for the 1982 Tony Award for Best Play, but lost to The Life and Adventures of Nicholas Nickleby, adapted by David Edgar from Charles Dickens’ novel.
“Although (The Dresser) is a period piece, it is a timeless classic,” Hayes says. “Like any classic play, it explores the human themes of truth vs. illusion, the need for validation and acceptance, and to find one’s place in the world. It also explores the complexity of love, in all its forms.”
Denise Cormier portrays “Her Ladyship,” the leading lady of the company and Sir’s partner. The character has been with him for “many, many, many years,” Cormier says. “So, I have made my way to my position only through (Sir). I think we had a very passionate and tumultuous (relationship) beginning way back when. And now, as long-term relationships can sometimes do, they’ve cooled.”
Cormier, a veteran actor who performed at PBD in The Little Foxes in 2017, says The Dresser is “very funny” at times, but the tragi-comedy is also “heartbreaking” during moments.
Veteran South Florida performer Elizabeth Dimon, who has also previously performed at PBD, is also part of the cast as Madge. She is the stage manager in Sir’s company.
“She’s been with him through hard times,” Dimon says. “And we have to remember this is during World War II, so they’re really struggling. But her relationship with him is one of loyalty.”
But the central relationship in the play is between Norman and Sir.
“Norman has a kind of rather a tragic life,” Hayes says. “He was an only child, grew up in the provinces, and basically was very mentally unstable. And Sir saved his life, basically as Norman was working backstage, Sir validated him as an artist and then Norman remained devoted to him for the next 16 years.”
Adds McPhillamy: “They know each other so well (that) Norman the dresser understands all (of) Sir’s quirks.”
While different people will take different things away from the play, Hayes says he hopes folks do not take the relationships in their lives for granted.
“In The Dresser, Norman is taken for granted by the person he loves the most and is devoted to,” Hayes says.
“If you have something to say to someone you love, say it today; don’t wait till tomorrow,” McPhillamy adds.
Just as the characters in the play are close, PBD’s cast members have formed a bond.
“We are long-time colleagues and friends, and I hope that will translate to the stage,” Hayes says.
IF YOU GO
WHAT: Palm Beach Dramaworks’ production of The Dresser by Ronald Harwood
WHEN: Through Jan. 5.
WHERE: 201 Clematis St. in West Palm Beach.
TICKETS: Go to www.palmbeachdramaworks.org.
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