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During World War II, a British Shakespearean theater group includes a seasoned actor nicknamed “Teacher” (Park Geun-hyeong, Jeong Dong-hwan), who has spent his whole career performing leading roles. Forty minutes before the start of *King Lear*, he loses all memory of his lines. To complicate things further, an air raid alarm goes off, bombs begin to drop, and the theater becomes a scene of turmoil as Norman (Song Seung-hwan, Oh Man-seok), the long-time dresser and Teacher’s trusted assistant, works desperately to save the performance.

The characters in *The Dresser*, which premiered on the 27th at the National Theater’s Daloreum Theater, strangely reflect our own confused and chaotic society during times of crises and disasters. Song Seung-hwan (68), who has portrayed “Teacher” since the play’s 2020 debut, is now taking on the role of “Norman” for the first time. “I wanted to present this in a new way if we were going to bring the play back,” said Song. “Once I pictured myself as ‘Norman,’ I immediately thought of Park Geun-hyeong (85) and Jeong Dong-hwan (76) for the role of ‘Teacher.’” Park and Song recently met at a rehearsal venue in Daehakro, Seoul.

◇The Initial Encounter Between an 11-Year-Old Boy and a 28-Year-Old Man

With 67 years of acting experience, Park and Song, who has 60, have never performed together until now. When questioned about their first meeting, Song brought out a picture from the 1968 Dong-A Theater Awards. In it, the 28-year-old Park, who had won Best Actor, was seen next to the 11-year-old Song, who received a special award instead of a child actor category. “We met on stage after 57 years,” the two elderly actors joked.

Although retinitis pigmentosa has left him nearly blind, Song still gives remarkable performances in recent plays such as *The University of Laughter*. His eyesight is so limited that he can only recognize letters when they are enlarged on a large-screen tablet. “It’s lucky the condition developed with age, so it’s progressing slowly,” he mentioned. “I’m already familiar with the props and where the actors are positioned. These days, I record rehearsals from ‘Norman’s’ point of view, then zoom in later. I have memorized my lines and the other actors’ responses.”

◇Park: “Acting, I’m Just Starting to Comprehend”

Even following *Waiting for Godot*—a 139-performance tour across 31 cities that completely sold out, featuring veteran actor Shin Goo (89)—Park keeps performing without pause. As recently as the 16th of last month, he took part in *Waiting for Waiting for Godot*. “It wasn’t until my late 60s that I began to slightly understand acting techniques as a performer,” he mentioned. Song added, “Actors usually concentrate on their own roles, but viewing ‘Teacher’ through ‘Norman’s’ perspective showed me things I hadn’t noticed when I portrayed him. Although ‘Norman’ is a dresser, he is essentially a servant. Perhaps I was a servant in a previous life—it fits so well, haha.”

A journal penned by “Teacher” resembling a suicide note is presented at the beginning of the play. The stage instruction states, “‘My Life’ is left empty.” What would be the opening line that defines one’s life? Park remarked, “I don’t think I’d have anything to write. Although my life seems impressive, what’s left is regret.” “The Teacher in the play performs *King Lear* 227 times, rehearses extensively, yet forgets his initial lines. We disappear with nothing. The play illustrates this sense of unfulfilled desire.” Song said, “I would write ‘Thank you.’” “Theater is not a solitary endeavor. People have hurt me, but now I am thankful to everyone. I have always depended on others.”

◇“Forgetting Lines After 227 *King Lear*s* Is the Essence of Theater”

What would be the first line of each other’s notebooks if they were to write it? Park mentioned he would write “Great” in Song’s notebook. “During rehearsals, I never noticed his blindness. It feels magical. His thoughts and actions are both great—overcoming physical limitations.”

Both still have a long way to go before retirement. Song laughed, “I don’t want to die on stage, but I hope to keep acting and creating until the very end.” “I tell younger people, ‘When I’m too old to move, I’ll play Jeffrey, the old clown in this play.’” Park smiled, “The play exists because ‘Teacher’ refuses to leave. Retirement isn’t something you decide. After all these years, I’m only just starting to realize. I’ll keep going as long as I can!”