Difference between revisions of "The Dresser (1983)"
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The play is set a provincial theatre in 1941. A touring company, led by and actor-manager knight of the Donald Wolfit school, is playing "King Lear" in the middle of the blitz. The action takes place before, during and after the performance. | The play is set a provincial theatre in 1941. A touring company, led by and actor-manager knight of the Donald Wolfit school, is playing "King Lear" in the middle of the blitz. The action takes place before, during and after the performance. | ||
| − | The playwright, Ronald Harwood, was, for five years, Donald Wolfit's dresser. Although he states categorically the "Sir is not Donald Wolfit", he admits that his "memory of what took place night after night in Woolfit's dressing room" inspired the play. However, anyone who has read Harwood's Biography of Wolfit, cannot help but see striking resemblances between Wolfit and Sir and his company. As Kenneth Tynan said, Wooflit was vilified as a "ham" actor by some, because "he is a middle aged actor-manager who goes on provincial tours with an unimpressive supporting cast". Harwood tells us of Woolfit's tyranny over his company, insisting on the brightest light, the most commanding positions and the dominace of the emotional scenes for himself. Yet Tynan, one of his sternest criticts, admits that | + | The playwright, Ronald Harwood, was, for five years, Donald Wolfit's dresser. Although he states categorically the "Sir is not Donald Wolfit", he admits that his "memory of what took place night after night in Woolfit's dressing room" inspired the play. However, anyone who has read Harwood's Biography of Wolfit, cannot help but see striking resemblances between Wolfit and Sir and his company. As Kenneth Tynan said, Wooflit was vilified as a "ham" actor by some, because "he is a middle aged actor-manager who goes on provincial tours with an unimpressive supporting cast". Harwood tells us of Woolfit's tyranny over his company, insisting on the brightest light, the most commanding positions and the dominace of the emotional scenes for himself. Yet Tynan, one of his sternest criticts, admits that Woolfit's Lear was "Majestic" |
When the provincial theatres declined - first into flasshy cinemas and finally, through a dreary metamorphosis, into sleazy bingo-halls - the demand for touring companies, especiall those bringing the Classical theatre, completely stopped. Only recently have we seen a renewal of the Theatreical Tour, but the present companies are funded by the big multi-nationals and the Arts Council and not, as in Wollfit's day. by the effort and dedication of the actor-manager and his company. | When the provincial theatres declined - first into flasshy cinemas and finally, through a dreary metamorphosis, into sleazy bingo-halls - the demand for touring companies, especiall those bringing the Classical theatre, completely stopped. Only recently have we seen a renewal of the Theatreical Tour, but the present companies are funded by the big multi-nationals and the Arts Council and not, as in Wollfit's day. by the effort and dedication of the actor-manager and his company. | ||
Revision as of 17:21, 11 April 2008
Directed by Brenda Meldrum
Performances: Sun 4th 7 Tues 6th – Sat 10th December 1983, Bell Theatre
Contents
Introduction
Programme Notes.
The play is set a provincial theatre in 1941. A touring company, led by and actor-manager knight of the Donald Wolfit school, is playing "King Lear" in the middle of the blitz. The action takes place before, during and after the performance.
The playwright, Ronald Harwood, was, for five years, Donald Wolfit's dresser. Although he states categorically the "Sir is not Donald Wolfit", he admits that his "memory of what took place night after night in Woolfit's dressing room" inspired the play. However, anyone who has read Harwood's Biography of Wolfit, cannot help but see striking resemblances between Wolfit and Sir and his company. As Kenneth Tynan said, Wooflit was vilified as a "ham" actor by some, because "he is a middle aged actor-manager who goes on provincial tours with an unimpressive supporting cast". Harwood tells us of Woolfit's tyranny over his company, insisting on the brightest light, the most commanding positions and the dominace of the emotional scenes for himself. Yet Tynan, one of his sternest criticts, admits that Woolfit's Lear was "Majestic"
When the provincial theatres declined - first into flasshy cinemas and finally, through a dreary metamorphosis, into sleazy bingo-halls - the demand for touring companies, especiall those bringing the Classical theatre, completely stopped. Only recently have we seen a renewal of the Theatreical Tour, but the present companies are funded by the big multi-nationals and the Arts Council and not, as in Wollfit's day. by the effort and dedication of the actor-manager and his company.
Brenda Meldrum
Cast
- Norman - Alan Buckman1
- Sir - Colm O'Neill
- Her Ladyship - Janis Allan
- Madge - Anna Greenburgh
- Irene - Marilyn Firth
- Mr Thornton - Michael Meldrum
- Mr Oxenby - John Brierley
- Knight - Bernard Witt
Crew
- Stage Manager - Sonia Burke
- Lighting Design - Stephen Holroyd
- Lighting Operator - Brian Fretwell
- Sound Recording - Brian Fretwell
- Sound Operator - John Hartnett
- Production Assistant - Rosie North
- Designer - Alan Buckman
- Set Construction - Don North
- Assisted by - Canice McAuliffe, Bob Marshall, Dick Lilly, Bill Proctor
- Scenic Painter - Sharon Haywood
- Props - June McAuliffe
- Assisted by - Christine Hemmise
- Prompt - Frances Walker
Reviews
Some review quotes go here
Gallery
Reminiscences and Anecdotes
Members are encouraged to write about their experiences of working on or seeing this production. Please leave your name. Anonymous entries may be deleted.
See Also
Have there been other SLT productions of this play? Link to them here.
Or add anything that is related within this site. The author's page for instance or other plays with a similar theme.
References
<references/>
