The Dresser - Roland Harwood - A Study Guide
The Dresser - Roland Harwood - A Study Guide
The Dresser - Roland Harwood - A Study Guide
by Ronald Harwood
A Study Guide
presented by San Jose Repertory Theatre
For more information, contact Karen Altree Piemme, Director of Outreach karenp@sjrep.com or 408.367.7291
The Dresser
By Ronald Harwood
Table of Contents
Synopsis.......1 About the Playwright...2 World War II in Britain
SYNOPSIS
Its 1942 in Britain and the smell of death is in the air. The sirens howl, signaling another air raid, but inside the crumbling Women in the War walls of a regional theatre in the provinces the aging actor, Sir, Effort..7-9 prepares to give his 227th performance as King Lear. Norman, War Rationing10-11 Sirs devoted, fuss-budget dresser, is barely able to take care of Sir Donald Wolfit...12 himself but faithfully assists Sir in near feudal servitude, massaging his ego, pampering his intellect and even creating Actor-Manager System.....13 sound effects for the Shakespearean production by Sirs struggling troupe. This touching and poignant tribute to theatre, Shakespeares Canon...13 friendship and the human spirit in the face of great strife - be it Theatre Terminology...14-19 war or ones own debilitating mortality - proves that the show must go on.
Further Research... 20
il hurch on C Winst
and most sustained aerial bombing campaign to that date. From July 1940 coastal shipping convoys and shipping centres, such as Portsmouth, were the main targets; one month later the Luftwaffe shifted its attacks to RAF airfields and infrastructure. As the battle progressed the Luftwaffe also targeted aircraft factories and ground infrastructure. Eventually the Luftwaffe resorted to attacking areas of political significance and using terror bombing tactics. September 7, 1940 heralded a tactical shift in Hitler's attempt to subdue Great Britain. Hitler turned his attention to destroying London in an attempt to demoralize the population and force the British to come to terms. (see page on The London Blitz) But the Royal Air Force valiantly defended its homeland from the German Luftwaffe, and the Nazis were unable to crush British morale. In March 1941, the U.S. began giving direct support to the British in the form of arms and ammunition through the Lend-Lease Act. After Pearl Harbor, in December, America would become directly involved in aiding the British in Europe. In January 1942, Roosevelt and Churchill agreed to establish a Combined Chiefs of Staff and to the make defeating Germany their first priority. (Winning the war in Europe would come before winning the war in the Pacific.) After three more long years, the Allies did win the war in Europe. Germany surrendered unconditionally on May 7, 1945. All told, Great Britain lost over 300,000 fighting men and over 60,000 civilians in World War II.
The appearance of German bombers in the skies over London during the afternoon of September 7, 1940 heralded a tactical shift in Hitler's attempt to subdue Great Britain. During the previous two months, the Luftwaffe had targeted RAF airfields and radar stations for destruction in preparation for the German invasion of the island. With invasion plans put on hold and eventually scrapped, Hitler turned his attention to destroying London in an attempt to demoralize the population and force the British to come to terms. At around 4:00 PM on that September day, 348 German bombers, escorted by 617 fighters blasted London until 6:00 PM. Two hours later, guided by the fires set by the first assault, a second group of raiders commenced another attack that lasted until 4:30 the following morning. This was the beginning of the Blitz - a period of intense bombing of London and other cities that continued until the following May. For the next consecutive 57 days, London was bombed either during the day or night. Fires consumed many portions of the city. Residents sought shelter wherever they could find it - many fleeing to the Underground stations that sheltered as many as 177,000 people during the night. In the worst single incident, 450 were killed when a bomb destroyed a school being used as an air raid shelter. Londoners and the world were introduced to a new weapon of terror and destruction in the arsenal of twentieth century warfare. The Blitz ended on May 11, 1941 when Hitler called off the raids in order to move his bombers east in preparation for Germany's invasion of Russia.
"It was a night when London was ringed and stabbed with fire. They came just after dark, and somehow you could sense from the quick, bitter firing of the guns that there was to be no monkey business this night. Shortly after the sirens wailed you could hear the Germans grinding overhead. In my room, with its black curtains drawn across the windows, you could feel the shake from the guns. You could hear the boom, crump, crump, crump, of heavy bombs at their work of tearing buildings apart. They were not too far away. Half an hour after the firing started I gathered a couple of friends and went to a high, darkened balcony that gave us a view of a third of the entire circle of London. As we stepped out onto the balcony a usvast inner excitement came over all of us-an excitement that had neither fear nor horror in it, because it was too full of awe. You have all seen big fires, but I doubt if you have ever seen the whole horizon of a city lined with great fires - scores of them, perhaps hundreds. There was something inspiring just in the awful savagery of it. The closest fires were near enough for us to hear the crackling flames and the yells of firemen. Little fires grew into big ones even as we watched. Big ones died down under the firemen's valor, only to break out again later. About every two minutes a new wave of planes would be over. The motors seemed to grind rather than roar, and to have an angry pulsation, like a bee buzzing in blind fury. (continued...)
www.eyewitnesstohistory.com (2001).
On the night of March 28th and 29th, 1942, the Royal Air Force bombed the German city of Lubeck. In retaliation, the Germans
July 1939: The Women's Auxiliary Air Force (WAAF) was created. Among other duties, they boosted the numbers in the Royal Observer Corps, maintained and flew barrage balloons. Some, mainly from the voluntary First Aid Nursing Yeomanry, worked with the Special Operations Executive, dropping into enemy territory and working as saboteurs, couriers and radio operators. Elsewhere overseas, female nurses in military field hospitals worked near the front line of battle, and many served with allied forces such as SHAEF (Supreme Headquarters Allied Expeditionary Forces). Women also came to Britain as members of other Allied forces - such as the Women's Australian Air Force, and its Canadian and American equivalents. Others came from across the then British Empire to serve in the ATS. At its peak the British auxiliary forces consisted of nearly half a million members. Spring 1941: Every woman in Britain aged 18-60 had to be registered. December 1941: National Service Act (no 2) made the conscription of women legal for single women aged 20-30 Mid-1943: Almost 90 per cent of single women and 80 per cent of married women were employed in essential work for the war effort. May 1945: VE Day, London, May 1945 1949: Creation of permanent women's forces 1950: Women's Land Army ended service to aid in postwar food shortages 1966: Womens Voluntary Services proved itself too useful ever to disband and continues today, becoming 'Royal'.
Spring 1939: Women's Royal Naval Service (WRNS) was reformed. Women aged 18-50 who lived close to near naval ports could apply. The WRNS was in charge of ship maintenance for the Royal Navy. The WRNS also helped with secret planning for D-Day.
Due to the threat of war in women hildren and old eo le were mo ed out of high risk areas of Britain su h as indus trial areas and areas with a high o ula on. In a roximately 25 000 eo le were e a uated. This was a re au on and was not ne essary. o dire t a on was taken against Britain by Germany. ost of the e a uees were trans orted ba k to their homes. Howe er in August 0 the war took a turn for the worse. The number of e a uees rose to about 00 000. Life for e a uees was di ult. ost li ed with eo le who didnt understand them. ome got to li e with ri h eo le and had a ni e few years but most didnt. They were se arated from their arents not knowing if they were dead or ali e. any hildren had diseas es. The e a uees were hosen by families like at an au on. Ea h e a uee had a label saying where they were from and what medi al ondi ons they had. This was horrible for most and Ill take that one be ame et hed on the memory of e a uees.
11
ir Donald Wol t
Wolfit, that Paul Scofield would Sir Donald Wolfit KB E (20 April 1902 # 17 February be playing Lear there 1968) was an English actor- at the same time, saymanager, knighted in 1957 ing "Lear is still the for his services to the thea- brightest jewel in my tre. crown!" Wolfit, who was "Woolfitt" Wolfit was primarily a at birth was born in Newstage actor, although ark, Nottinghamshire, and he appeared in over attended the Magnus Gram- thirty films (most notamar School (now Magnus bly B lood of the Vampire, B ecket, and LawChurch of England School) and made his stage dLbut in rence of Arabia). He Wolfit as Captain Hook 1920. He first appeared in was nominated for the West End in 1924, playing in The Wandering B AFTA Awards for his performances in Svengali Jew but had limited success afterwards, though he (1954) and Room at the Top (1959). played some major supporting roles at the O ld Vic He worked a good deal for the B B C, playing King John and Volpone on television, and Lear, Theatre in 1930 (including Claudius to the first Hamlet of John Gielgud, whom Wolfit Falstaff and Richard III for radio - as well [1] Wolfit apenvied and strove to rival. as less predictable parts like Archie Rice in peared in the hit film Richard of B ordeaux, The Entertainer. again in support of Gielgud. Wolfit finally At one time, Ronald Harwood was his made a name for himself at the Shakedresser and he based his play The Dresser speare Memorial Theatre in 1936 as Ham(later turned into a film) on his relationship let, and he tried to persuade the managewith Wolfit. Harwood also wrote his biogment to finance him on a tour of the provraphy. Peter O 'Toole, who worked with inces. They declined the invitation, so he Wolfit on several films and plays over the withdrew his savings and started his own Wolfit as King Lear course of his career, considered Wolfit his touring company in 1937,[2] which he most important mentor. Wolfit was also an would lead for many years, prompting important influence on the early acting caHermione Gingold's bon mot, 'O livier is a tour-dereer of Harold Pinter, force, and Wolfit is forced to tour.' who worked for the DonWolfit's speciality was Shakespeare. He was known ald Wolfit Company, especially for his performances as King Lear and King's Theatre, HammerRichard III as well as O edipus, B en Jonson's Volpone smith, in 1953#54, perand Christopher Marlowe's Tamburlaine. His touring forming eight roles with company performed in London during the B attle of him.[ B ritain in 1940 and Wolfit staged a very successful Wolfit's last appearance series of abridged versions of Shakespeare's plays on stage was in a musiin London during World War II in the early aftercal, as the domineering noon for lunchtime audiences, but he was unpopular Mr B arrett in Robert and with American critics when he took the company to Elizabeth in 1966#7. He B roadway in 1947. He appeared at Stratford during died from cardiovascular the 1950s in his signature role of King Lear, and disease in London at the was invited to play Falstaff at the RSC in 1962 but age of The Theatre WorldB magazine article about Wolfits angrily turned the offer down when he discovered 65. BLunchtime ShakespeareB during WWII
12
Tragedies
Antony and Cleopatra Coriolanus Hamlet Julius Caesar King Lear Macbeth O thello Romeo and Juliet Timon of Athens Titus Andronicus
The advantages of this system became apparent in the 18th century when successful actor-managers such as Colley Cibber and David Garrick achieved performance standards superior to those achieved by theatre owners who hired occasional casts for indi- Comedies vidual plays. In the 19th century great actor- All's Well That Ends Well As managers such as William Charles Macready, TheYou Like Itof Errors Comedy Sir Henry Irving, Madame Vestris, Sir Herbert Cymbeline B eerbohm Tree, and Laura Keene maintained Love's Labours Lost Measure for Measure high standards. The repertoire usually inThe Merry Wives of Windsor volved a combination of Shakespeare, popu- The Merchant of Venice A Midsummer Night's Dream lar melodramas, and new dramas or come- Much Ado About Nothing dies. The era of the actor-manager was Pericles, Prince of Tyre geared to star performances, and often the Taming of the Shrew The Tempest actors most famous performance was in an Troilus and Cressida inferior literary work, such as Irvings role in Twelfth Night Two Gentlemen of Verona the horror play The B ells. Several factors Winter's Tale contributed to the decline of the actormanager system: more corporate ownershi p of theatres, a trend toward ensemble-style acting, obsolescence of the stock system of play rotation in favor of long runs, and the cost of investing in new plays, which led to new combinations of artistic personnel for each new venture.
Histories
Henry IV, part 1 Henry IV, part 2 Henry V Henry VI, part 1 Henry VI, part 2 Henry VI, part 3 Henry VIII King John Richard II Richard III
13
Theatre Terminology
B eing a show about the theatre, The Dresser uses a great many terms that are specific to the theatre. Here is a list of theatre terminology (not all of which is used in The Dresser, but may be of interest to those whod like to understand more about the inner workings of the theatre). PEO PLE Assistant Stage Manager - person who is hired to help the Stage Manager B ox O ffice Manager - the person who is in charge of ticket reservations and ticketing Cast - the people who perform in a show Casting Director # the person responsible for finding the right actors for the roles in a show and hiring/contracting those actors for a production Choreographer - the person who creates dances and arranges movements for a musical Chorus 1) in a musical, the company of dancers and singers 2) the dancing, singing or songs performed by that company
Company - the cast and crew of a show and any other staff who work on the show Costumer - the person in charge of the costumes for a show Crew - all the people who work together on a show, except the cast Director - the person who provides the vision of how a show should be presented, works with designers to execute that vision, works with the actors on their roles, develops the blocking, and is in charge of the rehearsals Dramatist - a person who writes plays Dressers - people who help the actors get into and out of their costumes & make-up Ensemble - a group of actors, singers or dancers who perform together on stage Equity - trade union formed to protect professional actors and stage managers who work in the theater by helping to regulate pay and working conditions Front of House - a term used to describe all of the people in a theater who deal with the audience including the people who sell tickets and the ushers, and any other people who deal with the public (also see listing under PLACES) House Manager - the person in charge of the theater auditorium and anything to do with the audience Lighting Designer - the person who designs the lighting for a show and works with the director to get desired effects Musical Director - the person who works with the director, actors and orchestra to get the desired musical effects for a show
14
Theatre Terminology
Prop Mistress/Master - the person in charge of all the props and who usually works with them during a show Set Designer - the person who designs the sets for a show Sound Designer - the person who designs the sound direction for the show Stage Manager - the person who runs the show from opening curtain to closing curtain and is in charge of everything on the stage and in the back of the stage Technical Director - the person who supervises the construction of a set and any rigging that needs to be done, such as hanging scenery Troupe - a group of actors that form a company Wrangler - a person hired to take care of the younger members of a cast PLACES Aisle - a walkway which goes through two areas of seats B ackstage - the part of a theater which is not seen by the audience, including the dressing rooms, wings and the green room B lack B ox - a type of theater usually surrounded by black curtains where the audience and actors are in the same room B ox O ffice - the place that sells tickets to a performance B roadway - the largest and most famous theatrical district in New York City Callboard - the place backstage where the Stage Manager puts up important information for the cast and crew Catwalk - a narrow walkway suspended from the ceiling of a theater from which sometimes lights and scenery are hung Control B ooth - the place in a theater from which all the sound and lights are controlled Downstage - the part of the stage which is closest to the audience Dressing Rooms - rooms in a theater provided for the actors in which they change costumes and apply make-up Front of House - the part of the theater to which patrons have access, including the auditorium where the audience is seated, the lobby and the box office...(also see listing under PEO PLE) Green Room - a place for the performers to relax while waiting to go on stage House - used to describe the audience or as a short way of saying "Front of House" O ffstage - the area of the stage which the audience cannot see
15
Theatre Terminology
O ff B roadway - theaters in New York City which are not located on or near B roadway O rchestra Pit - an area at the front of house, usually sunken, from which the musicians and conductor play during a show Proscenium - the arch that frames the front of a stage Rear of House - the areas in the back of the stage and those places used for storage Repertory Theatre - a theatre group that prepares several plays that they can perform over time... not just one Riser - a platform placed on the stage to create different levels Set - the setting of the stage for each act and all the physical things that are used to change the stage for the performance Stage Left # everything to the left of the center line (from the ACTO RS point of view on the stage) Stage Right - everything to the right of the center line (from the ACTO RS point of view on the stage) Summer Stock - a type of Repertory Theatre which produces its shows during the summer season Trap - an opening in the floor of a stage where a performer or prop candisappear (trap doors in the floor) Upstage 1) the area of the stage that is the farthest away from the audience 2) when one actor moves to the back of the stage and causes another actor to turn away from the audience...This is called "Upstaging" 3) when an actor draws attention to himself and away from the main action of a play
Wings - the areas of the stage that are to the sides of the acting area and are out of view. These areas are usually masked by curtains. THINGS Act 1) the main sections of a musical or play 2) the thing which actors can do
Ad Lib - to make up as you go without preparation Aside - a quick remark made by a character in a play which is said to the audience and not heard by the other characters in the play Audition - a time when an actor goes before a group of people who are casting a play to show those people what he can in an effort to land a role in the show B elt - in Musical Theater, a style of singing which uses a loud, full tone
16
Theatre Terminology
B lack O ut - the quick shutting off of all the stage lights B locking - the instructions that actors use to know exactly where they are supposed to be on stage at all times B ook - the script of a play...libretto of a musical B reak A Leg - something people tell actors to wish them "Good Luck" before a performance or audition Call - the time that an actor must report to the theater for either a performance or rehearsal. Callback - when an actor who has auditioned for a show is asked to come back for a second tryout Casting - when the director chooses actors to be characters in a play or musical Cold Reading - when an actor is asked to read from a script he hasn't rehearsed Cue - signals that are given to the actors, the crew, the musicians and any others working on a show to let them know when its time for them to perform some action Curtain - the screen usually of cloth which separates the stage from the audience Curtain call - the bows at the end of a performance Dialogue - the words which are spoken in a play Dress Rehearsal - a rehearsal, usually just before a show opens, to practice the show just how it will be on opening night, including costumes and make-up. A rehearsal for both cast and crew Drop - a piece of fabric which is hung on stage and usually used in the scenery of a show Exit - a stage direction telling an actor to leave the stage Hand Props - those objects used to tell the story which are handled by actors in a production House Lights - the lights that are used to light up the auditorium where the audience sits Libretto - the term that describes the book or script of a musical or opera Marking O ut - when the stage is marked with tape to show where furniture and props should be placed during the performance (see also SpikeB) Matinee # a morning or afternoon performance of a show Monologue - a speech given by one actor Notes - the meeting a director usually has after a rehearsal or performance to tell the cast and crew how he felt about their performance and to make any changes he may think are necessary O ff B ook - when the director tells the cast (usually by a certain date) that they must memorize their lines and can no longer use their scripts in rehearsal
17
Theatre Terminology
O verture - the beginning music in musical theater which usually gives the audience an idea of the music to come and gets them into the feeling of the show Personal Props - props that are carried by an actor in his costume during a performance Playbill 1)a program(booklet)that contains information about a production 2)the posters used to advertise a production
Preset - when either a prop, costume or something else used in a production is placed in or around the stage before the start of a performance Prompt - as actors move from using the script to no script (see off book),the prompter follows the play in a book and gives a portion of a line to an actor, if needed, to help them remember the line Props - all the items used in a play to tell the story not including the scenery or costumes -- the short forms of "Properties" Rehearsal - the period of practice before the beginning of a show in which the actors and director work on the development of the show Reprise - in musical theater, when either a whole song or part of a song is repeated Run - the number of times, or duration of time during which a show is performed Run-through - a rehearsal in which the actors perform the show from the very beginning to the very end... "Run the show" is another way of saying the same thing Running-Time - the amount of time it takes to perform the play from beginning to end not including any intermissions...as theater is live performance, this can vary slightly for each performance Scrim - a drop made of a special woven material that is sometimes used in the scenery of a play. When lit from behind you can see through it. When lit from the front it appears opaque. Sides # the scenes or sections of a script used for an audition Sound Effects - the noises which are produced to accompany a scene in a show...these noises are mostly produced by a machine but can be produced by actors or stage hands off stage Spike - same as "Marking O ut" Stage Directions - when a script contains information for the actors giving them specific entrances and exits and activities to be done onstage Standby - a person who understudies a single role (or more) but is not part of the chorus or ensemble of a musical or play Strike - to take the set apart when a show ends
18
Theatre Terminology
Subtext - the feelings behind the words a character speaks Technical Rehearsal - usually the first time a play is rehearsed in the place where it is going to be seen by the audience and in which the scenery, sound and lighting are used... this rehearsal can be done with or without costumes... "Tech" is the slang for this process Timing - when an actor has the ability to say or do something at the best moment for the most effect Swing - a performer in a musical who substitutes when chorus members are unable to perform Understudy - an actor who studies the lines and blocking of a role, and is able to take over for the original cast member in a role Wardrobe # 1) the stock of costumes and accessories which are owned by a theatre 2) the department in a theatre responsible for the upkeep of the costumes that are being used in a show that is currently in performance
19
Further Resear h
B ritain on the Home Front
Life in 1930s and 1940s (Snapping Turtle Guides: B ritish History) by John Guy
http://childreninwar2.blogspot.com/ The Home Front Reconstructed by Liz Gogerly At Home in World War 2 Rationing by Stewart Ross At Home in World War 2 Evacuation by Stewart Ross Children and the B litz by Jane Shutter
Well Meet Again Photographs of Daily life in B ritain During World War Two
Introduced by Robert Kee by Topham Lib http://www.bbc.co.uk/history/british/britain_wwtwo/ http://www.historyonthenet.com/WW2/home_front.htm http://www.historylearningsite.co.uk/homefront.htm http://www.history.com/topics/battle-of-britain http://www.amazon.com/1940s-House-B enHymers/dp/B 0000AYL47/ref=sr_1_2?ie=UTF8&s=dvd&qid=1295482369&sr=1-2 B ritish World War II History http://www.worldwar2database.com/html/britain_40.htm http://www.amazon.com/B B C-History-World-War-II/dp/B 0009941E8/ref=sr_1_fkmr0_2? ie=UTF8&qid=1295487167&sr=1-2-fkmr0 Women in the Second World War by Collette Drife
Silently into the Midst of Things: 177 Squadron Royal Air Force in B urma 1943-1945: History and Personal Narratives by Atholl Sutherland B rownRAF B omber Stories: Dramatic First-Hand Accounts of B ritish and Commonwealth Airmen in WW2 by Martin B owman
http://www.worldwariihistory.info/in/B ritain.html http://www.historylearningsite.co.uk/ http://www.bbc.co.uk/history/british/britain_wwtwo/women_at_war_01.shtml B ritish World War II Theatre
The Complete Works of William Shakespeare Introduction by B retislav Hodek and Preface by Sir Donald Wolfit The Cambridge History of B ritish Theatre Volume 3 Since 1895 by B uz Kershaw Theatre History Explained by Neil Fraser Entertainment,Propaganda,Education:Regional Theatre in Germany and B ritain B etween 1918 and 1945 by Anselm
Heinrich
The World Encyclopedia of Contemporary Theatre by Don Rubin,Peter Nag, and Phippe Rouyer The Cambridge Guide to Theatre by Martin B anham The Continuum Conpanion to Twentieth Century Theatre by Colin Chambers
http://www.steppenwolf.org/watchlisten/backstage/detail.aspx?id=23 http://www.sacred-texts.com/neu/eng/osc/osc75.htm 1930Politics and Attitudes of B ritain 1930-1945
Family Newspapers? Sex, private life & the B ritish Popular Press, 1918-1978 by Adrian B ingham Decline and Fall of the B ritish Aristocracy by David Cannadine The Game of The Foxes; the untold story of German espionage in the United States and B ritain during World War II by Ladislas Farago
http://wn.com/B ritish_propaganda_during_World_War_II http://store.payloadz.com/details/74334-eB ooks-History-B ritish-World-War-2-Propaganda-Posters.html http://news.bbc.co.uk/2/hi/uk_news/magazine/4659477.stm http://www.bbc.co.uk/history/historic_figures/chamberlain_arthur_neville.shtml http://www.bbc.co.uk/history/historic_figures/churchill_winston.shtml Sir Donald Wolfit
Sir Donald Wolfit C.B .E His life and work in the unfashionable theatre by Ronald Harwood The Dresser by Ronald Harwood
http://www.imdb.com/name/nm0938372/bio http://www.answers.com/topic/donald-wolfit 20