THEATER REVIEW : ‘THE DRESSER’ NEEDS TO TIP THE BALANCE

In 1942, the old English order was being bombed out of existence. In Ronald Harwood’s “The Dresser,” now playing at the Mission Playhouse through March 21, these bombs, like one more thing that can’t be controlled, are edging an ailing, aging, Shakespearean actor out of his mind.

Known simply as “Sir,” the actor, possibly like the old English order itself, is a bit of a sham; he isn’t really a knight and his longtime mate and acting partner, “Her Ladyship,” is not only not a British lady, she isn’t even his wife.

But to the people who love him--like his dresser, Norman--Sir is the whole world. And when he collapses, their lives do as well.

After all, what is a dresser without someone to dress?

Norman and Sir are warring, yet ultimately kindred, spirits: two men who will not face the fact that on this night, the play may not go on. The right balance between the two is crucial to the success of this play.

Martin Frederic Gerrish is commanding as the larger-than-life Sir, but he quite overwhelms Tom Kilroy as Norman, who, in this backstage drama, should be the real center of the action.

Kilroy plays Norman with excessive affectation. He should start out as the strong one, but his fluttering hands, his face that twists in one hurt look, then another, betray his desperate need for Sir right from the start.

Perhaps, too, the memory of Tom Courtenay’s Oscar-nominated performance in the 1983 movie of this play puts Kilroy at an immediate disadvantage.

The action takes place in the course of an evening in which Sir is scheduled to play “King Lear.” Sir is sick--his chest hurts and he can’t remember his lines--and he considers, for the first time in his life, not going on at all.

Norman pulls out all the stops to get him through it--coaxing, scolding, pampering, praising and banishing every word of discouragement and doubt.

The other members of the theater troupe are played competently. Standout performances, besides Gerrish’s, are Ginger Perry as the thin-lipped stage manager Madge, who, for the past 20 years, has not been happy but has found it worth it to serve the man she loves, even from a distance, and Dana Hooley as Irene, the young, wide-eyed stagehand, who wants to become an actress and is just starting to fall under Sir’s spell.

The direction by Edythe Pirazzini is effective, especially in her use of the small stage, nicely designed by Gerrish and constructed largely by the cast.

Gerrish, who also did the sound, does well with the air raid sirens and the wind scene sound effects for the storm in “King Lear.” In addition, he creates an important distinction between the offstage voices (in this case, the “onstage” “Lear”) and the real onstage “Dresser” ones.

The lighting by John Mellor follows the changes in action and set smoothly. The costumes, from Grossmont Community College, are at their best when the actors are dressing for “Lear.” The marvelous colors and moth-eaten quality of the fabrics perfectly suit the wardrobe that a third-rate acting company touring the English provinces could afford to have.

There is a second theme running through “The Dresser.” Sir is working on the dedication of a book he is starting to write about his life. He thanks many, but like Lear himself, he overlooks the people who care for him the most.

This play, at least, is a fitting tribute to them.

“THE DRESSER” By Ronald Harwood. Director, Edythe Pirazzini. Set design and sound, Martin Frederic Gerrish. Costumes, Grossmont Community College. With Martin Frederic Gerrish, Tom Kilroy, Katherine Faulconer, Ginger Perry, Dana Hooley, William S. Farnum and Donald Pugh. At 8 p.m. Thursday-Saturday, through March 21. At the Mission Playhouse, 1936 Quivira Way (Marina Village), San Diego.