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[title of show] Arizona Theatre Company Play Guide 1

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[<strong>title</strong> <strong>of</strong> <strong>show</strong>]<br />

MUSICALS/PLAYS<br />

The Dresser<br />

The Dresser, by Ronald Harwood, is the story <strong>of</strong> the dresser to a fictitious Shakespearean<br />

actor-manager who heads a company performing during the London Blitz <strong>of</strong> World War II.<br />

The dresser, or theatrical assistant, attempts to keep the aging stage star going as his mind<br />

and memory slip away.<br />

The story is based on the experiences <strong>of</strong> Ronald Harwood when he was dresser to<br />

distinguished English Shakespearean actor-manager Sir Donald Wolfit. The play was<br />

nominated for Best <strong>Play</strong> at the 1980 Laurence Olivier Awards, and for Best <strong>Play</strong> and Best<br />

Actor in a <strong>Play</strong> at the 1982 Tony Awards. It was subsequently made into a film starring Albert<br />

Finney and Tom Courtenay.<br />

A Life in the <strong>Theatre</strong><br />

This play by David Mamet is a somewhat dark two-person backstage story about a stage<br />

veteran, Robert, and a young upstart, John. Told through a series <strong>of</strong> scenes – both backstage<br />

and onstage – it follows the relationship <strong>of</strong> these two men at different points in their lives.<br />

Though their association starts out as mentor and apprentice, it disintegrates and reverses on<br />

itself as the younger actor gains self-knowledge and the older falters.<br />

Noises Off!<br />

Noises Off is a 1982 play by playwright Michael Frayn centered<br />

on a British theatre troupe as they rehearse and perform a sex<br />

farce <strong>title</strong>d Nothing On. The first act <strong>show</strong>s a disastrous final<br />

dress rehearsal in which characters struggle to remember their<br />

lines, miss entrances and cues and attempt to keep their props<br />

in the proper place (most notably a plate <strong>of</strong> sardines). The<br />

action <strong>of</strong> the first act takes place entirely on the set <strong>of</strong> the play<br />

within the play. In the Second Act, the action is seen from the<br />

backstage side <strong>of</strong> the set, one month later at a performance <strong>of</strong><br />

the farce in a provincial theatre. As the play within the play<br />

takes place on the other side <strong>of</strong> the set, we see the relationships<br />

between director, actors and crew disintegrate behind the<br />

scenery. The Third Act <strong>of</strong> the play returns to the onstage side <strong>of</strong><br />

the set at the end <strong>of</strong> the run <strong>of</strong> the play. The actors are bored<br />

and tired, their <strong>of</strong>fstage lives have created enormous tension<br />

onstage and a series <strong>of</strong> mishaps causes the play-within-theplay<br />

to turn into a hilarious mess and theatrical disaster.<br />

<strong>Arizona</strong> <strong>Theatre</strong> <strong>Company</strong> <strong>Play</strong> <strong>Guide</strong> 25

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