REVIEW
Southend Shakespeare Company presents
THE DRESSER
by Ronald Harwood
Dixon Studio, Palace Theatre, Westcliff on Sea
28th October - 1st November 2025
Southend Shakespeare Company presents
THE DRESSER
by Ronald Harwood
Dixon Studio, Palace Theatre, Westcliff on Sea
28th October - 1st November 2025
Southend Shakespeare Company are performing their latest production, The Dresser by Ronald Harwood, at the Palace Theatre in Westcliff this week. The play, set backstage and in the dressing room of “Sir”, an aging and clearly unwell thespian, during a wartime performance of King Lear, explores the fraught relationship between the grandiose actor and his devoted dresser of 16 years, Norman.
The set in the Dixon Studio is impressive with the 'dressing room' taking up the most of the action towards the front of the stage and with a grand light bulbed mirror atop a table of make up powder and greasepaint, alongside wigs and a rail of costumes. A chaise longue and drinks cabinet add to the room’s ambiance with production posters on the outer walls. Up stage we have the theatrical staging for the performance of King Lear complete with throne and heraldry. It’s well thought out staging and works really well, holding the atmosphere and allowing the action to flow.
From the beginning it’s clear that Sir, played by Andrew Sugden, is not at all well. He has discharged himself from hospital after being found by Norman wandering the streets and has returned to the theatre much to the dismay of his long term partner, Her Ladyship (Tracey-Anne Bourne) who desperately wants him to retire from treading the boards but what seems to be the underlying delight of Norman who appears to be the only person who can possibly rally Sir back from the obvious distress and confusion that has overcome him.
Andrew Sugden gives a commanding and poignant performance as Sir, embodying the fading grandeur of a man who refuses to let go of the profession that defines him. His initial appearance as he walks back into the dressing room bewildered, confused and utterly exhausted, felt as exhausting to watch as it must have been to play and you wonder if Norman will ever be able to calm him down. Sugden manages to portray Sir’s mindset convincingly well shifting between bluster, confusion, and vulnerability as he is gently rallied by Norman to put on his make up and costume to become the leading role of Lear.
Opposite him, Richard Foster quietly shines as Norman, combining biting wit, patience, and heartbreak in a wonderfully crafted portrayal as he coaxes and bolsters Sir's morale, flattering him into putting on his costume and into the spotlight, whilst simultaneously holding the Company together by sheer will and his love for the theatre, yet never becoming the performer he could possibly have been himself. It’s a touching performance from Foster, playing the serf to the sovereign, particularly in the closing scene.
There is strong support from Tracey-Anne Bourne as Her Ladyship, with a convincing performance where you really sense her frustration at having to live with and constantly play second fiddle to the leading man. Carrie Groves as the no-nonsense stage manager Madge, is a little more angry than efficient as you would expect in the SM role and Molly Lecomber-Clark gives a nicely believable performance as the wide-eyed but perhaps not so innocent, Irene.
Dave Lobley (Geoffrey) and James Carter (Oxenbury) are the first to give the audience some proper laugh out loud moments, and round out the on-stage Company with some great energy and wit, giving an amusing insight to the world of this ever decreasing wartime troupe.
It’s ironic that the drama and intensity of Sir’s determination to perform, despite his obvious descent into illness and old age, is all encompassing and vitally important; a sense that if he doesn’t go on stage, the world will come to an end, whilst at the same time and in the same universe, outside there is a war going on. Sir rages, "Herr Hitler is making it very difficult for Shakespearean Companies". The sirens go off and the show almost doesn’t go on. But, of course, Sir has never missed a performance and he’s not going to miss this one, even if Norman does have to keep reminding him of his first line. Acting is life.
A shout out also to the small roles of Kent (Jacquee Storozynski-Toll) and Gloucester/Albany (Helen Fisher) who do well to keep going whilst the over riding action is taking place in the King Lear performance scene. Not an easy task.
Ben Smerdon and Malcolm Toll have directed this cast well in order to capture the chaos, humour and heartbreak of backstage life for a travelling theatre troupe, with what feels like true authenticity.
Kudos also to Stage Manager, Tracey Peacock for making sure all those props and costumes are where they're meant to be every night and getting the actors from the Green Room to the stage on time; and to Madeleine Ayres who has, once again, done a tremendous job making the cast look fabulous by providing, designing and producing such authentic and professional costumes for this play.
This production of The Dresser leaves a lasting impression — a heartfelt, funny, and moving tribute to theatre and its people, and to those who keep the spotlight burning even as the world outside crumbles. To quote Norman’s, “If you don’t mind me saying so..”, this is beautifully performed production you won’t want to miss, especially if you are a performer yourself; a superb opening night for Southend Shakespeare Company.
Review: Kim Tobin
The set in the Dixon Studio is impressive with the 'dressing room' taking up the most of the action towards the front of the stage and with a grand light bulbed mirror atop a table of make up powder and greasepaint, alongside wigs and a rail of costumes. A chaise longue and drinks cabinet add to the room’s ambiance with production posters on the outer walls. Up stage we have the theatrical staging for the performance of King Lear complete with throne and heraldry. It’s well thought out staging and works really well, holding the atmosphere and allowing the action to flow.
From the beginning it’s clear that Sir, played by Andrew Sugden, is not at all well. He has discharged himself from hospital after being found by Norman wandering the streets and has returned to the theatre much to the dismay of his long term partner, Her Ladyship (Tracey-Anne Bourne) who desperately wants him to retire from treading the boards but what seems to be the underlying delight of Norman who appears to be the only person who can possibly rally Sir back from the obvious distress and confusion that has overcome him.
Andrew Sugden gives a commanding and poignant performance as Sir, embodying the fading grandeur of a man who refuses to let go of the profession that defines him. His initial appearance as he walks back into the dressing room bewildered, confused and utterly exhausted, felt as exhausting to watch as it must have been to play and you wonder if Norman will ever be able to calm him down. Sugden manages to portray Sir’s mindset convincingly well shifting between bluster, confusion, and vulnerability as he is gently rallied by Norman to put on his make up and costume to become the leading role of Lear.
Opposite him, Richard Foster quietly shines as Norman, combining biting wit, patience, and heartbreak in a wonderfully crafted portrayal as he coaxes and bolsters Sir's morale, flattering him into putting on his costume and into the spotlight, whilst simultaneously holding the Company together by sheer will and his love for the theatre, yet never becoming the performer he could possibly have been himself. It’s a touching performance from Foster, playing the serf to the sovereign, particularly in the closing scene.
There is strong support from Tracey-Anne Bourne as Her Ladyship, with a convincing performance where you really sense her frustration at having to live with and constantly play second fiddle to the leading man. Carrie Groves as the no-nonsense stage manager Madge, is a little more angry than efficient as you would expect in the SM role and Molly Lecomber-Clark gives a nicely believable performance as the wide-eyed but perhaps not so innocent, Irene.
Dave Lobley (Geoffrey) and James Carter (Oxenbury) are the first to give the audience some proper laugh out loud moments, and round out the on-stage Company with some great energy and wit, giving an amusing insight to the world of this ever decreasing wartime troupe.
It’s ironic that the drama and intensity of Sir’s determination to perform, despite his obvious descent into illness and old age, is all encompassing and vitally important; a sense that if he doesn’t go on stage, the world will come to an end, whilst at the same time and in the same universe, outside there is a war going on. Sir rages, "Herr Hitler is making it very difficult for Shakespearean Companies". The sirens go off and the show almost doesn’t go on. But, of course, Sir has never missed a performance and he’s not going to miss this one, even if Norman does have to keep reminding him of his first line. Acting is life.
A shout out also to the small roles of Kent (Jacquee Storozynski-Toll) and Gloucester/Albany (Helen Fisher) who do well to keep going whilst the over riding action is taking place in the King Lear performance scene. Not an easy task.
Ben Smerdon and Malcolm Toll have directed this cast well in order to capture the chaos, humour and heartbreak of backstage life for a travelling theatre troupe, with what feels like true authenticity.
Kudos also to Stage Manager, Tracey Peacock for making sure all those props and costumes are where they're meant to be every night and getting the actors from the Green Room to the stage on time; and to Madeleine Ayres who has, once again, done a tremendous job making the cast look fabulous by providing, designing and producing such authentic and professional costumes for this play.
This production of The Dresser leaves a lasting impression — a heartfelt, funny, and moving tribute to theatre and its people, and to those who keep the spotlight burning even as the world outside crumbles. To quote Norman’s, “If you don’t mind me saying so..”, this is beautifully performed production you won’t want to miss, especially if you are a performer yourself; a superb opening night for Southend Shakespeare Company.
Review: Kim Tobin
Photos: Malcolm Toll and James Carter
SSC's first autumn production "The Dresser" arrives at the Dixon Studio at the end of this month!
Based on the author's own experiences as dresser to Sir Donald Wolfit, this bracing, heartbreaking drama is an elegy to a by-gone era.
Backstage at a theatre in the provinces during World War Two, Sir, the last of a great breed of actor/managers, is in a bad way tonight, as his dresser Norman tries valiantly to prepare him to go on stage as King Lear. Unsure of his lines as well as who and where he is supposed to be, Sir is adamantly determined to roar his last. Book your tickets now!
https://trafalgartickets.com/palace-theatre-southend/en-GB/event/play/the-dresser-tickets
For more information about the SSC visit our website at southendshakespeare.org.uk
Facebook
https://en-gb.facebook.com/groups/8772568988/photos
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https://instagram.com/southendshakespearecompany?utm_medium=copy_link
Based on the author's own experiences as dresser to Sir Donald Wolfit, this bracing, heartbreaking drama is an elegy to a by-gone era.
Backstage at a theatre in the provinces during World War Two, Sir, the last of a great breed of actor/managers, is in a bad way tonight, as his dresser Norman tries valiantly to prepare him to go on stage as King Lear. Unsure of his lines as well as who and where he is supposed to be, Sir is adamantly determined to roar his last. Book your tickets now!
https://trafalgartickets.com/palace-theatre-southend/en-GB/event/play/the-dresser-tickets
For more information about the SSC visit our website at southendshakespeare.org.uk
https://en-gb.facebook.com/groups/8772568988/photos
https://instagram.com/southendshakespearecompany?utm_medium=copy_link
CURTAIN CALL with Richard Foster, 61, from Westcliff, who takes on the role of Norman in The Dresser
When did you start to take an interest in theatre? Did you take part in any productions at school?
My Mum and Dad were involved in amdram before I was born, and I grew up with rehearsals in the lounge and going to their shows with East Essex Players and then Southend Shakespeare Company. My first role was as Mustardseed in SSC’s “A Midsummer Night’s Dream”, in 1975 (I was 10). I was then in “Oliver!” for LODS shortly afterwards, but photos of the show illustrate that I lacked stage presence! I did get the hang of it eventually, though.
I remember being in the chorus for “Oh, What a Lovely War!” at school, but I joined that cast late, and was never really sure what the Hell was going on!
Are or were any members of your immediate family involved in drama?
As well as my Mum and Dad, my wife (we met in panto), my sister, my son, and my daughter have all been involved at various times. I feel very proud of my amdram heritage; my Dad was a very respected local actor, and my Mum has directed beautiful theatre over the past 60 years. My daughter and wife choreographed a recent production of “Oliver!” that I directed for Lennox Productions at the Queens Theatre in Hornchurch.
Have you done any sort of formal training for acting/singing/dancing?
I went to Ridley Studios when I was a kid, and also went to dancing lessons for a couple of years. I had singing lessons as a child and then more lessons when I got cast as Sir Lancelot in SODS “Camelot”. Although I’d been involved in musical theatre all my life, I felt that the singing for Lancelot demanded more than just being able to put a song across. So I had classical lessons, which I then kept up for a couple of years.
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
Not any performance skills, really. I’m pretty technical (I was a computer programmer for a while), and I have used my IT skills to create multi-media performance pieces, and have added video/audio elements to shows that I’ve been involved in. I use IT for designing and programming lighting for SSC. So IT is my specialist skill!
Which experience/role do you regard as the highlight of your amdram career to date?
At the time, each show you do is a highlight. Some stand out in your memory because they were more of a challenge and therefore you feel that they have greater merit; some are remembered for the camaraderie during rehearsals and show week; some because they’re a favourite show:
What has been your most embarrassing moment involving drama, on or off stage?
Fortunately, I can’t think of any particular amdram occasion where it has been that awful! Sure there have been moments (forgotten lines, late entrances, corpsing, etc), but nothing really leaps out as devastatingly awkward. There’s still time, I guess.
There is a dancing incident however that qualifies.
How do you earn your living?
I’m now a painter/decorator, but my career for 25 years was as a teacher: Drama, Media, Film, IT.
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
Yes, definitely. I worked for a small team within a software company in London. My role was to present the software at exhibitions and seminars. My amdram background allowed me to stand up in front of, sometimes, thousands of people and demonstrate the software, without being fazed. And I know how to project!
Then, as a teacher, again, my amdram skills were constantly of benefit. I think we all play different characters in our various social/work arenas, and the ability to turn on a confident demeanour in stressful and challenging situations is something that amdram has given me. Although teaching drama is more about teaching social skills, team building, etc, it is also about preparing students for performance exams, and my acting/performance background was frequently instrumental in demonstrating skills and coaching.
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I would say that 80% of my social circle comes from amdram. Probably 90%!
Which actor do you most admire and why?
My Dad, who died in 2014. He was always an example to follow. For a modest man, he could hold an audience completely. His comic timing was perfect, and he knew how to strum the heart strings.
What role would you most like to play and why?
I’d like to play Fagin. It’s a great role in a great show, that I love. I think Fagin has many facets, and I’d like to have a go at creating a character that reflects these facets.
Ever corpsed on stage? What happened?
I was in a production of “Black Comedy”. The premise of this play is that the action starts in very dim lighting, and the actors move about as if it’s normally lit. Then, suddenly the stage lights come fully on and the characters then behave as if it’s pitch black; stumbling into furniture, searching for each other, etc. At one point I had to lead another character (played by Lee Jackson) into the room by his hand. As he came through the doorway, he suddenly stopped moving. I tugged a bit, but there was resistance. I could hear the audience start to snigger. After a few seconds I sneaked a look backwards and realised that the cuff strap of his Mac had caught on the door handle. We both lost it!
Tell us a bit about your part in "The Dresser".
I play Norman, The Dresser. Norman has had a rough/tough life, I think, in which he has had to deal with mental health problems of his own. This, now, might help him to deal with Sir’s mental collapse. Norman talks about the ‘Friends’ he has had in the past, but I think a lot of his recollections are of his own experiences. He must protect Sir, because, without Sir, there is no theatre company, and no job for Norman. He’s become comfortable in his role and with his status as Sir’s right-hand man, but that status is threatened as Sir’s mental health becomes fragile.
Any plans for the future, after "The Dresser?”
I expect I’ll navigate back to the lighting desk. I’ve done the lighting for SSC productions in the Dixon Studio for the past four or five years.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
I usually use the “cover and check” method initially, and then (once I’ve got it mostly memorised) I record the other characters’ lines on my phone leaving gaps for my dialogue in between. Then I play it back and try to fit my bits in the gaps. I don’t think this is particularly ground-breaking, and, in fact, I remember my dad doing this on a reel-to-reel recorder back in the 60’s!
I’ve not been able to do this for Norman though as he has so many long speeches.
Perseverance is the key. A quiet room, concentration, and perseverance.
My Mum and Dad were involved in amdram before I was born, and I grew up with rehearsals in the lounge and going to their shows with East Essex Players and then Southend Shakespeare Company. My first role was as Mustardseed in SSC’s “A Midsummer Night’s Dream”, in 1975 (I was 10). I was then in “Oliver!” for LODS shortly afterwards, but photos of the show illustrate that I lacked stage presence! I did get the hang of it eventually, though.
I remember being in the chorus for “Oh, What a Lovely War!” at school, but I joined that cast late, and was never really sure what the Hell was going on!
Are or were any members of your immediate family involved in drama?
As well as my Mum and Dad, my wife (we met in panto), my sister, my son, and my daughter have all been involved at various times. I feel very proud of my amdram heritage; my Dad was a very respected local actor, and my Mum has directed beautiful theatre over the past 60 years. My daughter and wife choreographed a recent production of “Oliver!” that I directed for Lennox Productions at the Queens Theatre in Hornchurch.
Have you done any sort of formal training for acting/singing/dancing?
I went to Ridley Studios when I was a kid, and also went to dancing lessons for a couple of years. I had singing lessons as a child and then more lessons when I got cast as Sir Lancelot in SODS “Camelot”. Although I’d been involved in musical theatre all my life, I felt that the singing for Lancelot demanded more than just being able to put a song across. So I had classical lessons, which I then kept up for a couple of years.
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
Not any performance skills, really. I’m pretty technical (I was a computer programmer for a while), and I have used my IT skills to create multi-media performance pieces, and have added video/audio elements to shows that I’ve been involved in. I use IT for designing and programming lighting for SSC. So IT is my specialist skill!
Which experience/role do you regard as the highlight of your amdram career to date?
At the time, each show you do is a highlight. Some stand out in your memory because they were more of a challenge and therefore you feel that they have greater merit; some are remembered for the camaraderie during rehearsals and show week; some because they’re a favourite show:
- I think I’d have to say that the pinnacle of my amdram career was playing Ralph in East Essex Players’ “Bouncers” in the 90’s. It was just a really slick ensemble piece that we performed all over the country in the All England Theatre Festival;
- In WODS “Guys and Dolls” I played Nathan Detroit, and that was/is my favourite musical show;
- In Lennox Productions’ “Beauty and the Beast” I played The Beast, and that was a fabulous experience because of the joy of rehearsals.
What has been your most embarrassing moment involving drama, on or off stage?
Fortunately, I can’t think of any particular amdram occasion where it has been that awful! Sure there have been moments (forgotten lines, late entrances, corpsing, etc), but nothing really leaps out as devastatingly awkward. There’s still time, I guess.
There is a dancing incident however that qualifies.
How do you earn your living?
I’m now a painter/decorator, but my career for 25 years was as a teacher: Drama, Media, Film, IT.
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
Yes, definitely. I worked for a small team within a software company in London. My role was to present the software at exhibitions and seminars. My amdram background allowed me to stand up in front of, sometimes, thousands of people and demonstrate the software, without being fazed. And I know how to project!
Then, as a teacher, again, my amdram skills were constantly of benefit. I think we all play different characters in our various social/work arenas, and the ability to turn on a confident demeanour in stressful and challenging situations is something that amdram has given me. Although teaching drama is more about teaching social skills, team building, etc, it is also about preparing students for performance exams, and my acting/performance background was frequently instrumental in demonstrating skills and coaching.
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I would say that 80% of my social circle comes from amdram. Probably 90%!
Which actor do you most admire and why?
My Dad, who died in 2014. He was always an example to follow. For a modest man, he could hold an audience completely. His comic timing was perfect, and he knew how to strum the heart strings.
What role would you most like to play and why?
I’d like to play Fagin. It’s a great role in a great show, that I love. I think Fagin has many facets, and I’d like to have a go at creating a character that reflects these facets.
Ever corpsed on stage? What happened?
I was in a production of “Black Comedy”. The premise of this play is that the action starts in very dim lighting, and the actors move about as if it’s normally lit. Then, suddenly the stage lights come fully on and the characters then behave as if it’s pitch black; stumbling into furniture, searching for each other, etc. At one point I had to lead another character (played by Lee Jackson) into the room by his hand. As he came through the doorway, he suddenly stopped moving. I tugged a bit, but there was resistance. I could hear the audience start to snigger. After a few seconds I sneaked a look backwards and realised that the cuff strap of his Mac had caught on the door handle. We both lost it!
Tell us a bit about your part in "The Dresser".
I play Norman, The Dresser. Norman has had a rough/tough life, I think, in which he has had to deal with mental health problems of his own. This, now, might help him to deal with Sir’s mental collapse. Norman talks about the ‘Friends’ he has had in the past, but I think a lot of his recollections are of his own experiences. He must protect Sir, because, without Sir, there is no theatre company, and no job for Norman. He’s become comfortable in his role and with his status as Sir’s right-hand man, but that status is threatened as Sir’s mental health becomes fragile.
Any plans for the future, after "The Dresser?”
I expect I’ll navigate back to the lighting desk. I’ve done the lighting for SSC productions in the Dixon Studio for the past four or five years.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
I usually use the “cover and check” method initially, and then (once I’ve got it mostly memorised) I record the other characters’ lines on my phone leaving gaps for my dialogue in between. Then I play it back and try to fit my bits in the gaps. I don’t think this is particularly ground-breaking, and, in fact, I remember my dad doing this on a reel-to-reel recorder back in the 60’s!
I’ve not been able to do this for Norman though as he has so many long speeches.
Perseverance is the key. A quiet room, concentration, and perseverance.
Below: Richard in rehearsal
