I had first heard of "The Dresser" back in the 1980s when a 1983 film of that title (adapted from a 1980 play by Ronald Harwood) was nominated for five major Oscars: Best Picture, Director (Peter Yates), Actor (for both Tom Courtenay and Albert Finney) and Adapted Screenplay (for playwright Ronald Harwood). Sadly, I never got to watch that film. More recently, there was another adaptation of this play for BBC TV, starring Ian McKellen and Anthony Hopkins in the lead roles. I likewise did not get to see that one.
That was why I was very excited to hear that Repertory Philippines was going to stage it this year. My excitement doubled when I learned that it was going to star two of the best actors on the local stage -- Audie Gemora and Teroy Guzman -- a major casting coup. This was definitely THE play I was most looking forward to the most for this season. It was quite disappointing that I was not able to see it during the opening weekend last week due to schedule conflicts, but I made sure I watched it today, on its second week.
Norman had been the dresser (or "personal assistant" in today's parlance) of "Sir," an elderly classical-style Shakespearean stage actor, for the past 16 years. One day during the World War II days in Britain, Sir suffered a nervous breakdown in public that prompted Norman to take him to the hospital. That same night, amidst the ruckus of blaring alarms and falling bombs outside, Sir had to get back into condition to play "King Lear" for his 227th time, with his wife "Her Ladyship" playing Lear's daughter Cordelia.
Norman (Gemora) and Her Ladyship (Maramara) attend to a beleaguered Sir (Guzman)
Photo by Boboy Ramiro from Repertory Philippines FB page
Teroy Guzman was a riveting presence onstage as Sir. Physically, Guzman possessed the classic visage and magnetic charm of a star with a complex. Acting-wise, Guzman felt so real, so fully in character, sometimes you forget that he was an actor merely playing another actor. His English accent was so natural, effortlessly shifting inflections from his regular speaking voice and his modulated stage voice. This was indeed tour-de-force acting.
Audie Gemora was delightful as the earnest and fussy dresser Norman, who was loyal only to his boss, his Sir. He had settled well into his daily routine as Sir's personal servant, minding all his duties with pride. We later get to know him better as the play went on, discovering some of his secret vices, faults and idiosyncrasies, all of which Gemora played with tongue-in-cheek, obsessive-compulsive glee.
Missy Maramara played "Her Ladyship," Sir's concerned wife who wanted him to retire from his profession. Tami Monsod played "Madge," Sir's stage manager for more than 20 years, a spinster who carried an unrequited torch. Justine Narciso played "Irene," the new girl in the production, who knew how to use her youth to get ahead. All these ladies get to shine in their respective scenes with Sir. each with her own particular concern and agenda.
Jaime del Mundo (as the sheepish Geoffrey who got bit by the acting bug late in life) and Jeremy Domingo (as the aloof actor Oxenby who was also an aspiring playwright) complete the ensemble.
The Cast at the Curtain Call
(photo by Jaypee Maristaza from Repertory Philippines FB page)
This intimate play is a contemplative piece about an old actor who was larger than life on stage, but frustrated and broken offstage. It was slow of pace, and had more talk than action. While the overall mood was somber, there was biting wit and humor. Despite my own professional background, I loved the sarcasm Sir hurled against doctors ("When a doctor tells you you need rest, you can be sure he hasn't the slightest idea what is wrong with you.") and theater critics ("Critics, I only have compassion for them. How can one hate the crippled, demented and the deficient?").
This is indeed a play which bonafide fans of theater will love. It had several juicy little details about backstage activities, superstitions and rituals, and actors' egos. The best scene for me was definitely that one where Guzman transforms himself into King Lear, applying makeup by himself without a mirror. I also liked how they showed King Lear's storm scene from behind the theater wings with their sound effects equipment, only hearing the performing actors offstage (and their ad libs). The lengthy interval between acts those days was also interesting to note.
Director Loy Arcenas led the production team with a clear vision. Ed Lacson Jr. recreated Sir's old decrepit dressing room, one which you could imagine reeked with moth balls. Tata Tuviera's King Lear costume was elaborate and magnificent, especially when we watch Guzman put it on in layers. Barbie Tantionco's lighting design and Jethro Joaquin's sound design were efficient and effective in their subtle unobtrusiveness.
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THE DRESSER runs from May 3 -26, 2019 at the Onstage Theater in Greenbelt 1 in Makati. There are 8 pm shows on Fridays and Saturdays, with 3:30 pm matinees on Saturdays and Sundays. Tickets are selling at P1,500 for center orchestra, and P1,200 for side orchestra.
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