Dynamics Without Fuel
Although an ambition to impose the play as a new reading of the famous text is visible in The Dresser, it seems that Paolo Magelli's staging, despite several good ideas, carries numerous problems with it.
TL;DR
- Ronald Harwood's famous play, The Dresser, originally based on his personal experience as a dresser for Sir Donald Wolfit, achieved great success in the 1980s and was adapted into an Oscar-nominated film.
- The play focuses on the relationship between a veteran Shakespearean actor and his devoted dresser during World War II, exploring themes of art, artistry, and ethics during difficult times.
- Paolo Magelli's new staging of The Dresser attempts to offer a fresh interpretation but is hampered by a lack of a clear concept, an inconsistent mix of traditional staging and modern interventions (video, live music, rock songs), and an uneven rhythm.
- The production highlights the interplay of personal and professional ambitions within theatre but gives the WWII context a somewhat abstract treatment, making the play lean towards a melodramatic story of complicated relationships within a theatre troupe.
- Despite the script's dated aspects and an overreliance on obvious observations, the exceptional performances of Miki Manojlović and Vojislav Brajović are highlighted as the primary draw of the production.