By Ronald Harwood
The god of the theater is the theater, a faith taken on faith, a seraphic dream from which none of the participants ever fully awaken. The motive power of The Dresser is that passion.
Two quite different men are in thrall to it in this tragicomic drama and bonded to each other in something resembling a love-hate relationship. Sir (Paul Rogers), who is called only that, is the last of a dying breed of British actor-managers who tour the provinces paying flawed but fervent fealty to Shakespeare. The time is...