In his new play The Dresser which was given its premiere by Manchester Royal Exchange Theatre, Ronald Harewood rolls back the curtain on the days of the great actor-managers. The last of them was Sir Donald Wolfit with whom the author served as dresser for almost five years and subsequently as business manger. But Harewood makes it definitely clear in a programme note that the actor manager in the play is not a portrait of Sir Donald. The play provides not only a  splendidly written account of the relationship between “Sir”, the actor-manager, and Norman, his dresser, but also gives a thought provoking analysis of the actor’s mental make-up and what lies behind the near masochism which drives him on night after night.

The play is set in a provincial theatre in January 1942, and the curtain goes up to the sound of air-raid sirens and falling bombs. “Sir” is about to give his 227th performance as Lear but has collapsed in the street and has been taken to hospital in a state of exhaustion. He rushes out of hospital only a short time before curtain-up and then has to be alternately cajoled and bullied by his dresser to put on his make-up and costume and to be reminded of his opening lines. The play drifts into near farce when the actors in “Lear” have to improvise as they await  the King’s arrival on stage but it tightens up again back in the dressing room when we are briefly reminded that lechery and cupidity are not far below the surface of “Sir’s” make-up.

Tom Courtenay in the title part presents a sensitive and finely balanced study of the devoted servant who remains loyal in spite of being able to see through his employer’s weaknesses. In the contrasting role of “Sir”, Freddie Jones provides all the necessary panache and expansiveness without letting the part get out of hand and at the same time evokes our sympathy. Isabel Dean’s portrayal of the actor’s wife is also tightly controlled and Carol Gilley as Madge, the stage-manager, ably maintains the love-hate relationship she has with her employer. Jacqueline Tong as Irene, the ASM, Lockwood West as Geoffrey Thornton and Geoffrey McGivern as Mr Oxenby make useful contributions and Rex Arundel, Anthony Benson , Joe Holmes and Guy Nicholls play the part of actors in King Lear. Michael Elliott directs and makes ingenious use of the theatre’s facilities by taking the play within the play on to the concourse outside the stage and auditorium. Laurie Dennet’s set gives authenticity.