Reece Shearsmith shines as the titular dresser in Sean Foley's moving re-staging of this theatrical classic.

Set at a time when repertory theatre ruled the provinces, The Dresser by Raymond Harcourt is a wry look back at fading glory, lives on their way to ruin, and how we perceive friendship. Whilst World War II rages outside an unnamed theatre up north, we are introduced by reputation first, to a fantastic Ken Stott as the domineering 'Sir', a decaying old thesp whose arrogance is palpable, his charm and likability on the wane. So begins a backstage comedy, a love letter to the theatre, in which it becomes apparent that 'Sir's domineering personality has taken everything from those around him like a lecherous old sponge, none more so than Norman, his loyal dresser, valet, psychologist and sparring partner.

As Sir's heath decays, he soldiers on as a decrepit King Lear, in a performance so rapturous that the audience stay despite the wailing air raid sirens. Stott is electric in the role, fully inhabiting the charismatic vampire, who begins to lose his vice-like grip on the cast (and his marbles) as faithful Norman's good nature also evaporates, his formerly vice-like grip on the cast loosening. Increasingly pissed and desperate, the comedy darkens and Norman’s years of being overlooked translate into an unpleasant venom that becomes incredibly shattering at the play's finale.

Elsewhere, a strong supporting cast and an impressive set keep this production buoyant and interesting, and although I found the early scenes very impressed with their own cleverness, The Dresser does still pack an emotional and cultural punch, especially with its target audience.

Don't miss if you’re a fan of the cloying luvvie, but stay for Shearsmith, whose scope as an actor is constantly surprising and magnetic to watch.

Reviewed by Kitty on October 10th, 2016

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The Dresser is at the Duke of York's Theatre until January 14, 2017