2. THE SURROGATE FATHER 33

On the last Saturday in January, 1990, a 55-year-old schoolmaster called Colin Turner was killed in a freak accident on a
visit to friends. Colin had been hoping to retire to Stratford-upon-Avon five years later in 1995, looking forward to indulging his
passion for Shakespearean research. He was walking down a flight of stairs in a block of flats in Stamford Court, Hammersmith, when
he suddenly tripped and fell headlong, breaking his neck on the railings at the bottom of the stairs. Colin was rushed to the
nearby Charing Cross Hospital; but he had died almost instantaneously.
'Oddly enough,' says Colin's close friend Edward Ted1 Stead, sadly recalling a bizarre detail, 'the bottle of wine he was
carrying was quite undamaged.'
Wilf Sharp, then the Head of English at Latymer Upper School, was informed of his colleague's fate the next morning on Sunday,
28 January. At first he couldn't quite believe it; he had only just received a letter from Colin the previous day.
The correspondence was about Colin's attendance at the funeral of their mutual friend, the painter Ruskin Spear, who had lived
a few doors away from Colin in Hammersmith's British Grove.
There was to be a similar tragedy five years later on New Year's Eve, 1995, for a former Latymer Upper master who had lived in
the same apartment block as Colin. Retired English teacher Jim McCabe died of a brain haemorrhage after falling and hitting his
head on a stationary car in the car park. Alan Rickman attended his requiem mass at the end of January 1996 and later went back to
the school to talk over old times.
When he had heard the news about Colin Turner's fatal accident, it was particularly devastating for Alan. Colin had been his
mentor at Latymer Upper, joining the school at the same time as the then fatherless, 11-year-old Alan. Turner was 23. An English
teacher at Latymer for the next 33 years, he would become Head of Middle School.
As a bachelor, Colin had treated his career as a vocation in the Chips tradition. An Old Latymerian himself, he was a

34
flamboyant and idiosyncratic actor and director in the school's Gild Drama Club. He had hoped to make a career in the
professional theatre, but eventually trained as a teacher after National Service in the RAF and returned to his beloved Latymer.
The school was staffed with frustrated actors,' remembers the writer, critic and broadcaster Robert Cushman, a pupil at the
school in Alan's day.
It was overwhelmingly non-tee-paying in my time,' adds Cushman, who left two years before Alan in 1962 but acted alongside him
in Gild productions. The school was not class-ridden at all. It was a good time, the beginning of the 60s. It was almost like doing
weekly rep, with a major show every term. The Gild met every week except in the summer exam term, and there was a great sense of
comedy in the school. It was a fun place to be. A whole bunch of bachelor teachers bought us drinks when we were under age; in the
Gild, we all felt like their equals.
'Colin Turner was a matinee-idol type, very good-looking with a light tenor voice. He was very tall - I remember him playing
Sir Andrew Aguecheek in Twelfth Night when someone else dropped out.'
Opera fan Colin was just as likely to step into a skirt and send himself up as to play in straight drama. Among his most
memorable roles at Latymer Upper were the sad schoolmaster and cuckold Crocker Harris in Rattigan's The Browning Version, the
foul-mouthed fishwife Martha in Albee's Who's Afraid Of Virginia Woolf ? and an outrageous succession of pantomine Dame parts, such
as Sarah the Cook and Dame Trot.
A big and imposing man with an irrepressible sense of humour, he modelled his female roles on his favourite aunt, surrogate
mother and holiday companion, Mrs Elsie Laws. Shades of Travels With My Aunt, indeed.
In The Latymerian magazine of Spring/Summer 1990, Ted Stead's tribute to Colin remembered '. . . the little touches which many
people haven't time for ... his gifts, a kind word, a joke, a glass of sherry, an arm round the shoulder, a present - often a
flower, or even when needed, a sharp word of reality to cure self-pity and indulgence. There was always a welcome in his home and
his hospitality through his parties brought together his wide circle of friends on Twelfth Night and on his birthday, when he
sometimes ruefully counted the years but did not grow old.' Colin had the

35
born schoolteacher's ability to seem as youthful in his enthusiasms as his pupils, hence his empathy with his boys.
It was Colin Turner who discovered the gawky young Alan Rickman, for whom he clearly felt a paternal concern. In later years
he would also develop the talent of Melvyn 'Mel' Smith, Hugh Grant, Christopher Guard plus his brother Dominic and even a future
Miss Moneypenny: actress Samantha Bond from Latymer's sister school Godolphin. Samantha's journalist brother Matthew, also one of
his pupils, was later to write a tribute to Colin in The Times Diary on what would have been the occasion of his 60th birthday.
There was a good creative buzz around the place, and Colin was at the centre of it. He was one of the great characters of the
school. Colin was a great mentor to lots of people: he had a real eye for talent,' says Mail On Sunday film critic Matthew, an
exact contemporary of Hugh Grant at Latymer Upper in the 70s. 'When you think of it, Colin had an amazing strike record for a drama
teacher. It's sad that some of his former pupils only became great successes after his death; but Colin was interested in the
progress of the journeymen actors as well.
'At 6 ft 6 in, it would have been difficult for him to be a professional actor. He was a very imposing pantomine dame; he took
it very seriously and was good at it. He didn't mind being ridiculed in drag at the panto, but he had tremendous authority back in
the classroom.
'I rather rebelled against acting because of my family,' explains Matthew, son of the actor Philip Bond. 'I did science
A-Levels and Colin teased me about it. So I tended not to act much: 1 was the one who got away. It was the Arties versus the
Hearties at Latymer, and I was somewhere in between.
'My career as a schoolboy actor reached its peak in The Italian Straw Hat when I played an elderly Italian gentleman; but I
wore yellow dresses in the school Jantaculum with the best of them, Hugh Grant included.' The future pop star Sophie Ellis-Bextor
and the actress Kate Beckinsale were among the Godolphin girls appearing in co-productions with Latymer. As Matthew recalls: They
did allow girls in later to play female roles ... but then they decided to ban the girls after some very unGarrick Club behaviour.'
Despite that behavioural blip, girls have since been admitted to Latymer Upper's sixth form, with the eventual plan that the school
will go fully co-educational.

36
From 1957-1964, when Alan attended the school, Colin inevitably became something of a father figure to him even with only
twelve years' difference between them. Alan's bravura style and even the development of his unique voice can be attributed to him.
'It struck me that Colin's basic manner was not dissimilar to Alan's; both possessed this wonderful voice and presence. When
you see Alan, there are echoes of Colin, because he is a mannered actor,' adds Matthew. 'But it might have worked both ways; it
might have been Colin who adopted Alan's style, because he would have had great admiration for someone with such a natural actor's
voice. The actor Simon Kunz has a great voice too, and he became another protege of Colin's at Latymer; Colin must have thought
that Simon would be another Alan Rickman.'
'Alan was very close to Colin, who really guided him,' remembers Ted Stead. 'Colin was one of my closest friends, and we were
both invited to Alan's 21st birthday party as his friends. It's very unusual to invite your old teachers to your 21st, but he did.'
Their former pupil even continued to act alongside Colin and Ted for several years after Alan had left Latymer Upper for Chelsea
College of Art.
Alan and his new girlfriend Rima met up with Colin and Ted again in the Court Drama Group at a London County Council Evening
Institute off the Huston Road, where Wilf Sharp and his wife Miriam ('Mim') were instructors in their spare time.
Wilf and Mim's daughter, Jane, played Juliet to Alan's Romeo in this amateur dramatics group, with Colin Turner as Mercutio
and Mim directing. It was Latymer Revisited with females.
Alan himself recalls Latymer Upper in the 1960s as an exhilarating mini National Theatre, with teachers fighting pupils for
the best roles. It was a glamorous sanctuary from the drab reality of poverty.
A former classmate of Alan's recalls that 80 per cent of the boys in Rickman's day were from a working-class background. 'They
took the cream of the 11-plus from all over London. I came from a middle-class background, and I almost felt like the odd boy out.
Most of the intake was from the C-D social groups: academically it was highly selective, but the social mix was like a
comprehensive. It's a great pity that the direct-grant system has finished there.
The school's motto is Pavilatim Ergo Certe (Slowly But Surely), which could sum up Rickman's slow-burn career. Founded in

37
1624 by the terms of lawyer Edward Latymer's will, it aimed to give a first-class education to able boys from all backgrounds.
Latymer worked in the livery courts. The income from the childless Latymer's rents in the hamlet of Hammersmith was bequeathed
to the founding of a charity under which eight poor local boys were to be put 'to some petty school' to be taught English and 'some
part of God's true religion' so that they could be kept 'from idle and vagrant courses'. The 1572 Vagabonds Act had deemed all
unlicensed 'Common Players' to be 'rogues, vagabonds and sturdy beggars', no better than vagrants. One wonders just what the devout
Latymer would have made of the famous thespians that emerged from his school.
Despite a certain working-class diffidence, Rickman's dramatic abilities were very obvious from the beginning. He was a
regular performer in school plays as a member of the Gild Drama Club, held every Friday night.
The Gild was set up in the 1920s as a senior dramatic society, based upon the medieval trade guilds (spelt gilds). It was open
to fifth and sixth-formers plus masters, with girls from Godolphin eventually playing female roles, though not in Alan's day.
The idea, very radical for its time, was to create 'Jantaculum' musical revues in which pupils and masters could compete as
equals. Rickman's self-possession, interpreted by some as arrogance, stemmed from that terrific egalitarian start in life when boys
were taught to take on the world. It almost goes without saying that, with that voice and that presence, he made an imposing
prefect at the age of eighteen. Nearly four decades later, another Old Latymerian called John Byer, a teacher now for more than
three decades, swears that the secret of Rickman's 'wonderful portrayal of the wicked Sheriff of Nottingham was the practice he had
as my class prefect when I was in the fourth form!' As a poor boy from the wrong side of the tracks, Alan was self-conscious enough
as a prefect to assume that aloofness conferred authority, as so many sixth-formers 'dressed in a little brief authority' tend to
do. Tobacco helped the nerves, and Rickman puffed away at the ciggies as much as anyone. Byer recalls how 'Alan's fingers were
nicotine-stained; smoking was de rigueur at Latymer then and it was allowed in the prefects' room. Although he treated me like dm,'
he adds good-humouredly, т think we were probably pretty awful - and it was what we expected!'

38
Latymer was a direct-grant school in 1957, with competitive entry by exam. "You won a place here on merit,' says Nigel Orton,
the school's former deputy head who went on to run the Old Latymerian Office that keeps in touch with former pupils. 'Most of the
boys were on scholarship, because Latymer has always been renowned for taking boys from humble or lower middle-class backgrounds.
The school is still selective, but the direct grant finished in 1976 and we became fee-paying - though the bursary-scheme takes
care of boys from poor backgrounds.
'When the Government started an assisted-places scheme in the early 80s, we bought into this in a big way. It's a totally
academic, selective school.'
Alan made a memorably precocious Latymer acting debut at the age of eleven as Volumnia, the overbearing and bellicose mamma of
Shakespeare's Coriolanus. Later, he became a Gild committee-member, or Curianus, in the quaint Latymer parlance.
He was also Chamberlayne, the title given to the boy in charge of Wardrobe. The intricacies of costume design fascinated
Rick-man, whose talents as an artist were already obvious. The library still holds Curianus Rickman's own flamboyant signed cartoon
of himself, heavily padded as Sir Epicure Mammon with a conical hat perched on his sharp Mod haircut for a production of Ben
Jonson's The Alchemist, in the spring of 1964, Alan's final year in the Sixth Form.
Not that Rickman was remotely the kind of teenaged weekend Mod who scootered down to the seaside for a ritual fight with
greasy Rockers. The fastidious young scholarship boy was cosseted by academic privilege, and hated growing up on a
rough-and-ready-council estate. According to one friend, he still remains sensitive about the experience because acting is
overwhelmingly a middle-class profession, even more so now that many drama grants from cash-strapped local authorities have dried
up.
At Latymer. Alan could escape into a charmed life. Brian Worthington, a master from Dulwich College's English department, was
a guest reviewer of The Alchemist for the school magazine. The Latymerian. He wrote: 'Sir Epicure Mammon's costume, though well
designed, was made of a thin, meagre-looking material, quite wrong for the character. This grandiose and greedy sensualist should
surely look as splendid as his verse sounds.

39
'Nevertheless Alan Rickman's performance compensated for this and his curious "mod" hairstyle. A lazy and smug drawl, affected
movements and lucid, well-pointed verse-speaking succeeded well for this avaricious yet perversely sensitive booby. He knew how to
throw away a line and deliver the famous speech — "I'll have all my beds blown up, not stuff’d, down is too hard" — without any
indulgence in the voice, beautifully.'
The previous year, Alan played the female role of Grusha in Brecht's The Caucasian Chalk Circle, which was his first
introduction to left-wing agit prop or agitational propaganda. 'He read with assurance, sympathy and complete absence of
embarrassment,' noted Ted Stead, the director of the production, in The Latymerian. Unfortunately, Alan fell ill and had to be
replaced in the second half. He received his first dodgy notice when the late Leonard Sachs - who made his name as the deliriously
alliterative Master of Ceremonies in the television variety series The Good Old Days and whose son, Robin, was a Latymer Upper
pupil - seemed to find Alan just a little too precocious.
In a Latymerian review of a 1963 production of The Knight Of The Burning Pestle, Sachs had a somewhat equivocal response to
Rickman's 'just too arch Humphrey'. Judging by the adjacent photograph, the foppish, confident-looking Rickman must have been
hilarious.
'I used to bump into Alan on the Tube because we lived quite close to each other,' recalls Robert Cushman. Then I suddenly
became aware of him as an actor in the Gild in 1962 when I played Sergeant Musgrave in a rehearsed reading of John Arden's Serjeant
Musgrave's Dance and Alan played Annie the barmaid. He played her as a bedraggled slut, and there was amazing depth, tragedy and
irony in his performance. I have this image of him cradling a dead body.
'He was a charismatic character at school: there was that voice and that authority. I don't know that I would necessarily have
prophesied stardom for him. His individuality was always going to stand him in good stead, though.'
At the Speech and Musical Festival of 1964, Rickman was commended for having '. . . with studied nonchalance extracted every
ounce of biting satire from Peacock's Portrait of Scythrop' He's been studying nonchalance ever since. And as Grikos in Cloud Over
The Morning, he won the award at Hammersmith Drama

40
Festival that same year for the best individual performance. The rap over the knuckles from Sachs had done him no harm.
'I first met Alan when I joined the school in 1962 and he was in the Lower Sixth.' says Stead, a Cambridge contemporary of
David Frost. Corin Redgrave, Margaret Drabble and Derek Jacobi. Ted. who went on to teach at Gravesend Grammar School for Boys,
gave Trevor Nunn his first acting job in Dylan Thomas's Return Journey when they were both up at Downing College.
Above all, Stead remembers Rickman's confidence, with an ability to camp things up as a schoolboy drag queen that nearly gave
the Head of the time a fit of puritanical apoplexy.
'Alan was in the political panto Alt Baba And The Seven Dwarfs. He played the sixth wife of All Baba and one of his lines was
censored by the headmaster, who was a northern Methodist and insisted it be cut from a family show.
'It was a line about Alan being the Saturday wife, since Ali Baba had one for every day of the week. Alan had to say "fat or
thin, nearly bare, he doesn't care" of Ali Baba's taste in women. And he wore a diaphanous costume in a very flamboyant way, quite
confidently.'
Robert Cushman reviewed that production for the spring issue of The Latymcrian in 1963. "Spy stories were very much in vogue
then, and this was a riotously involved spy-spoof sketch. Alan infiltrated the sultan's harem as a spy, disguised as one of his
wives,' he remembers.
A review in The Latymerian school magazine for Winter 1962 records that Alan took the role of 'a sultry spy from Roedean - a
sort of do-it-yourself (Eartha) Kin - played with a vocal edge that enabled him to bring the house down with a monosyllable.' That
sounds like the Alan Rickman we all know.
'He was always laconic, wonderful at ensemble playing and tremendously popular with boys and staff. One could see he had
tremendous talent,' adds Ted Stead.
'When he did The Alchemist in the Upper Sixth, it ran for over three hours. A schoolboy Alchemist is a recipe for disaster,
but Alan had this panache in the role of Sir Epicure Mammon. He was very imposing indeed, but he didn't upset the ensemble. He was
a very good verse-speaker even in 1964. Jonson is almost intractable, but he managed it.
'He always had a wonderful barbed wit, but it was never unkind. There was always a twinkle in his eyes; he never meant to hurt
people. Really, he was a very reliable model pupil.

41
'Latymer was a very competitive school, and Alan wasn't a leader. He was just somebody who was popular, made people laugh. But
he was university material, no question of it. In fact. Alan would have made a good teacher.
'But at that stage, an was his chosen career. He was so clear that he was going to Chelsea College of An, so we didn't think
of him in the theatre at that stage. The voice was there when I first met him: it made him unique.'
Chris Hammond, a chemistry teacher and the current Head of Middle School, came to Latymer Upper in 1966 two years after Alan
had left with a mighty reputation. In Latymer terms, he was a household name because of his performances in the Jantaculum. He
brought the house down; the audiences cried with laughter.
The Gild doesn't really exist now in the old way. There are drama productions, but not with the staff and pupils acting
together. There are no more Jantaculum cabarets: they called them light entertainments in those days. There's a new view that we
ought to be doing proper drama. The great cabaret tradition is no longer there.
'When Alan came back to the school after Jim McCabe's requiem mass, he said that satire was very difficult these days. That's
why the satire has gone from the Gild. Because it's all been done before, satire would border on the obscene these days. It has
taken off in a strange direction.'
The school still displays a photograph of Rickman in a 1962 production, alongside examples of the early thespian endeavours of
rugby captain Mel Smith and cricketer Hugh Grant, all looking absurdly plump-cheeked and misleadingly cherubic. For as Robert
Cushman recalls, There was so much jealousy and competitiveness over theatre. I remember one contemporary, Michael Newby, who went
on to York University. He was a marvellous natural actor, but he became very disillusioned.'
Newby figured in that Ali Baba And The Seven Dwarfs review from the Winter of 1962: This was a spy story, vaguely
post-Fleming, and was handled with his customary skill and incisive-ness by Michael Newby as a deadpan James Bond. His crisp timing
did a great deal to hold the story together and he was given two excellent foils: John Ray, possibly the most original comic
personality the Gild possesses, was marvellously funny in an all-too-brief appearance as a cringing British agent; Alan Rickman . .
.' You know the rest.

42
Cushman. now based in Canada, has stayed friends with Rickman ever since their time at Latymer. 'My wife points out that Alan
always helped with the washing-up . . . mind you. thai was before he went to Hollywood,' he jokes.
Although Rickman still revisits Latymer Upper, he has a decidedly equivocal attitude towards the fee-paying school that gave
poor scholarship boys like him a privileged upbringing.
His misgivings were to lead to an ideological falling-out with Latymer towards the end of 1995 when the school asked
permission to use his photograph in a display advertisement placed in theatre programmes for three productions from October to
December at the Lyric Hammersmith. 1995 was Latymer's centenary year, and the ads were specifically designed to recruit new pupils
with an interest in drama. Hence the mug-shots of Latymer's most famous dramatic successes: Alan Rickman, Mel Smith and Hugh Grant.
The school wrote to ask Alan's permission to use his photo. 'We received a reply from his agent, one of those wonderful
one-sentence letters that said Alan did not wish his photograph to be used in this way/ recalls Chris Hammond. 'Luckily we hadn't
sent the display ads off to the printers, so we didn't have to reprint anything. We simply removed Alan's photograph.
The strange thing was that Alan had already given permission for his picture to be used in a book about the history of the
school, which was published in October 1995."
Appearing in the school's history book was one thing; but joining in with its recruitment drive was a very different game of
soldiers. Staunch Labour supporter Alan Rickman refused to cooperate with the ads because he didn't wish to be seen to be publicly
endorsing a fee-paying school which no longer has the same quota of working-class scholarship boys that it did in his day.
Paradoxically, that's because the Labour Party abolished the direct-grant system back in 1976 with the inevitable result that
Latymer Upper took fewer poor pupils and became more elitist The 300 assisted places that still existed in 1995 were abolished by
Labour after it came back into power in 1997.
Ideally, of course. Labour would prefer private schools like Latymer not to exist at all. To add to the irony of Alan's
dilemma. a member of his Labour councillor girlfriend's family was also educated at Latymer Upper. "I think it was her brother or
her cousin, I can't remember which,' says Chris Hammond.

43
In other words, though the system may not have pleased the purists, Latymer Upper proved to be the making of a lot of
impoverished bright children . . . including Alan Rickman.
'Alan is a romantic,' says Chris Hammond, not unsympatheti-cally. 'And every so often harsh political realities hit him,
either through his partner or through logic. He has a romantic view of Latymer and of the Gild.
'He's ideologically in dispute with the concept of an independent-school education, the idea that money buys all. But after
Jim McCabe's requiem mass in January, Alan came back to the school and stayed for three hours from which I deduce he's not
personally in dispute with us. He didn't have to come back; nobody forced
him.
'And when he was invited to the centenary service at St Paul's Cathedral in 1995, he sent his regrets that he couldn't come
because of filming commitments.
'Harriet Harman's name came up when we were talking, and yes, you could certainly say that he wasn't exactly in favour of her
decision to send her son to a selective school,' adds Chris of the educational own goal by a Shadow Cabinet Minister that split the
Labour front benches for a while in February 1996.
'But I asked Alan how he would try to maintain Latymer in future if he were a school governor, and he reluctantly agreed that
he would have done the same as us. He's ambivalent about it all, because he cares about Latymer.'
According to Chris Hammond, another issue that Rickman felt strongly about was the sacking of Jim McCabe in 1993; he thought
Jim was poorly treated at the time.
'Jim was asked to leave,' admits Hammond. 'He was originally with us in the 60s, and he was fine then. Then he went off to
teach at Crawley, Watford and eventually Singapore. He came back to Latymer for his final years. He was asked to jack it in at the
end of one year; unfortunately he wasn't a good teacher any more. So he took early retirement; I would hope that Alan would see the
necessity of that.' But Alan does like to play the white knight on occasion; it's a trait that does him no discredit.
Rickman was to demonstrate his commitment to Latymer still further by returning again in November 1999 for the gala opening of
the school's new arts centre, including the 300-seater Latymer Theatre. With him were Rima and Mel Smith, with whom he has

44
long been friendly. 'He wasn't remotely distant and aloof; it was a very warm occasion and he stayed for three hours
afterwards." says Orion. Far from being an elitist fixture for the use of the Latymerian boys and girls only. the theatre is used
widely by local primary schoolchildren and drama students as a public resource open to all. Alan certainly approved ot that; and
one suspects that Edward Latymer himself might have done so. too. And Latymer Upper's new scholarship appeal fund, which Chris
Hammond says has the 'keen' support of both Alan and Mel. is intended to replace the late-lamented assisted-places scheme to some
extent
Leaving Latymer for the outside world in Ia64 was a great shock. Alan was later to recall the still, small voice that ignored
his "wild bruiser of a will' and told him he should take up an instead of doing a Drama or an English degree. In that, he was
emulating his graphic designer brother, David. Family influences were strong Alan was still living at home in Acton, much too poor
to join in the emergent Swinging London scene of the King's Road in 1965
Alan enrolled on a three-year art and design course at Chelsea College of Art. leaving in 1968. the year of Danny the Red and
international student uprisings.
Alan was later to recall the wall-to-wall sit-ins, the fellow student who painted on an acid trip and the girl from the
graphics department who cycled up and down the King's Road while dressed as a nun. He told GQ magazine in July 1992 how he
'wandered through those days wondering what on earth was going on ... there was a bit of me that always wanted the painting
teachers to come into the graphic design department and discover me as a great painter. But I could never get it together. 1 think
there was a bit of me that was waiting to act."
In truth. Rickman was a bit lost until he found his soulmate Rima. If Colin Turner gave him sophistication, she gave him
self-belief,
'I always assumed that Rima and Alan emerged out of the diesel and smoke of west London, cosmically entwined.' says their
playwright friend Stephen Dans, not entirely facetiously.
It was at Chelsea College of Art that Alan met a general labourer's daughter from Paddington. Rima Elizabeth Honon. She was
small, dark, sweet-faced and snub-nosed, with a calm, self-possessed air that made her seem remarkably precocious Alan was later to
say. with a distaste for romantic gush that proved he was every' inch his mother's son. 'It was not love at first sight; I'd

45
hate for us to be presented as something extraordinary. We're just as messy and complex as any other couple, and we go through
just as many changes. But I really respect her. Rima and 1 can sit in a room just reading, and not saying anything to each other
for an hour, then she'll read something to me and we'll both start giggling.' in other words, they manage to be friends as well as
lovers; the best, and the rarest, combination.
Like him, she was a clever, serious-minded working-class child who had suckled socialism at the breast. Alan and Rima
instantly bonded like brother and sister; they thought alike and had the same dry sense of humour. They protected each other, and
have done so ever since.
The relationship has been remarkably solid over more than three decades, outlasting many of their friends' marriages. Although
Rima is a year younger than Alan, from the very beginning she always seemed the older of the two. Yet it's a relationship based on
neck-strain, because he towers over her.
'When I first saw Alan with Rima, they didn't seem a very coupled couple. But 1 was wrong. I began to notice when I visited
Alan in Stratford-upon-Avon that he seemed calmer when she was around. She centres him. She's very important to him,' says the
playwright Dusty Hughes, who has known them both since 1981. 'She came up to do his garden at a cottage he rented in Stratford when
he was with the RSC; she planted annuals everywhere.'
'Alan did a reading at our wedding in 1990,' says Dusty's ex-wife, Theresa Hickey. 'He read the Shakespeare sonnet, "Let me
not to the marriage of true minds admit impediment" from the pulpit.
'He terrified everyone because he read it in a really sinister voice like Obadiah Slope's. I remember Rima had a bad cold, but
she still came along to be with him. Alan is very much a one-woman man.' Unfortunately, Teresa and Dusty's marriage lasted only
three years; but Alan and Rima's informal arrangement is still going strong. 'Neither of them are slaves to convention,' says the
actor and director Richard Wilson, explaining why they have never seen the need for a formal contract while friends' marriages
crumble one by one. Another friend thinks that Alan would have married if he had wanted children. But in 1998, Rickman admitted in
an interview with the journalist Susie Mackenzie that he would have loved a family himself; that fatherhood was not something he
deliberately chose to avoid. Then, to protect Rima, he added

46
hurriedly: ' You should remember I am not the only one involved; there is another person here. Sometimes I think that in an
ideal world three children, aged twelve, ten and eight, would be dropped on us and we would be great parents for that family.'
Mackenzie asked him bluntly whether he had ever been tempted to leave the 51-year old Rima for a 20-year old starlet. 'No,' came
the very firm answer, clanging down like a portcullis on that particular conversational avenue.
Instead he set out to become the ideal uncle. In 2001, he told the movie magazine Unreel during a promotional interview for
Harry Potter and the Philosopher's Stone that, far from being remote from children and children's interests as affluent Dinkies
(Dual Income No Kids) so often are, he liked to spend time with his sister's young daughters Claire and Amy. Sheila had had the
girls relatively late, and a middle-aged Alan found himself revelling in 'all those daft things - movies, McDonald's, Hamleys'. In
a way, and with the distinct advantage of the wherewithal to pay for it this time, he was rediscovering his own
face-pressed-against-the-glass childhood in the late 40s and early 50s when the magical Hamleys in Regent Street really did live up
to its name as the greatest toyshop in the world.
When he took Claire and Amy there, however, he was in for a shock when they made a beeline for the kind of girlie toy that
would give the gender politicians a fit of the vapours. Despite the fact that his sister didn't dress the girls 'in pink or bows',
he recalled how Claire and Amy 'marched straight to the Barbie counter - I couldn't believe it - hideous little dolls with pointed
breasts'. Yet even grungey old Alan was enough of an indulgent uncle - and a bloody-minded rebel - to declare, If I had children, I
like to think I'd let them wear whatever they wanted. None of my friends would believe me, but I'd let them walk down the road in
pink Lurex and gold plastic.' So much for his reputation for solemnity.
Rima was as passionate about theatre as Alan was, and they joined an amateur west London group called the Brook Green Players.
She first appeared with him in a production of Emlyn Williams' Night Must Fall at the Methodist Hall in Askew Road, Shepherd's
Bush.
He was the star as the psychopathic Danny, the seductive boy murderer who kept a head in a hat-box; Rima took the part of the

47
maid whom Danny impregnates in Sean O'Casey's least favourite play. A cast photograph published on page three of the West
London Observer on 1 April 1965 shows Rima wearing a huge floral pinny and standing demurely in the back row. The smallest member
of the cast, she also looks the most assured.
That was deceptive, however, since she was never confident enough to take up acting full-time. The highly articulate Rima
still finds political speech-making somewhat nerve-racking.
But acting was where Alan, of course, found himself in the ascendant. He is in the front row of the Observer picture,
displaying that familiar sultry pout and looking ready to sulk the place down with the cross-looking face he so often presents to
the world. His is easily the most dramatic presence in the line-up.
'What is one supposed to do when after watching a play, one finds oneself wanting to see more?' rhapsodised the gushing
reviewer. 'For the registering of deep, heartfelt emotion . . . most of the burden fell to young Alan Rickman in the part of Danny,
a rather mystifying young gentleman who is both the hero and the villain.
'He it is who is called upon at one stage to break down and cry. This Mr Rickman does so well that it's almost possible to see
the tears in his eyes.
'It was Sir Laurence Olivier, I think,' hedges the reviewer, wallowing in the lachrymose theme, 'who once said this is the
test of a real actor or actress. Of all the characters in this gripping drama, I think that Danny is the one upon whom most of the
attention is focused.
'Of course, he is one of the central characters. So much so that the stage seems empty without him. Even when his part calls
for no word or action, he dominates the stage.'
Nevertheless, Alan had persuaded himself that he ought to pursue an an career instead. In that, he was influenced by
working-class caution: it seemed much easier to make a living from drawing than from the party-trick of performing. And if things
didn't work out, he could always become a painter and decorator like his late father. However, Latymer had changed him utterly,
much more than he knew.
In their spare time, Alan and Rima then joined Edward Stead and Colin Turner in the Court Drama Group at the Stanhope Adult
Education Institute opposite Great Portland tube station. It was to become a little Latymer in exile for Alan.

48
Their seasons were amazingly eclectic Edward remembers more of Rickman's camped-up shock tactics in the musical revue The
Borgua Orgy at the Stanhope
There were some lines that went "Scoutmasters gay are we/ displaying a shapely knee/in our cute little shorts/we are known as
good sports/from Queensgate to Battersea." Alan really threw himself into it,' he recalls.
"We acted together in Behan's The Hostage and the Court did give Alan the part of Romeo, which he's never done professional!)
Rima was Moth the page, Alan was Boyet and Colin was Don Armado in Love's Labours Lost; it was directed by Wilf Sharp, whose late
wife Miriam requested in her will that Alan read from The Importance Of Being Earnest at her funeral.
'Alan was devastated by Colin's sudden death, no question of it,' says Ted, pointing out that Rickman read two speeches at a
Service of Thanksgiving for the life of Colin Turner at St Michael and All Angels Church in Bedford Park on 23 February 1900.
'Alan came along and read the Queen Mab speech in honour of him, since Colin had played Mercutio in the Court's production of
Romeo And Juliet. Alan even said, characteristically but wrongly, "Colin read it much better than me." It wasn't true but it was
typical of his generosity. He also read "Our revels now are ended" from The Tempest
'On Desert Island Discs, Hugh Grant mentioned the influence of Colin, though he didn't name him. Colin was immensely important
for him, too. He's very different to Alan, though: Hugh is scatty and Alan is very in control.
'Alan can be vulnerable, but he's very strong and clear about what he wants to do. He has handled his career very well, he's
avoided meretricious stuff. One could never say of him that he did it for the money.
'I lost touch for a couple of years when he finished at the Court, but then I heard he had got into RADA. We've kept up
contact on and off since; he was there at the last anniversary of the Gild, there in person. Mel Smith sent a video
'The voice was already there when I first met him. Initially it can sound affected, but и isn't. That's Alan. He's never
patronising even to the people from the Court Drama Group when they met him years later.
'A number of people say he seems aloof, which is absolutely wrong. When he was doing Achilles and Jaques at Stratford in the

49
1980s, I took along two boys who were mad about the theatre. Afterwards we had a bottle of wine in his dressing-room and he
insisted on paying for a meal afterwards. He had a little cottage opposite the theatre and we had tea there. We also saw him in Les
Liaisons Dangercuses; he couldn't have been nicer or more helpful.
'He made time to meet us, even though he had an hour's fencing every night before Les Liaisons to rehearse the final fight.
•I also took boys from my present school to see Alan's Hamlet in 1992 - even the Oxbridge candidates could do nothing but look
at him and ask for his autograph. They wrote to him afterwards and he wrote back by return of post.
'People were kept out of the dressing-room so he could entertain boys from Gravesend Grammar whom he had never met. He had no
reason to do it. He chided me and said, "You should have brought them all round" when I said, "Alan, there were 27 of them. I had
to put names in a hat."
'He tried hard to defuse the feeling of him being the star when I took those boys backstage. There was no actory behaviour.'
After the three-year course at Chelsea, Alan studied graphic design for a year at the Royal College of Art to prepare himself
for a career in art. Like so many others in 1968, he dreamed of changing the world with Letraset.
To this end, in 1969 he set up the Netting Hill Herald freesheet with a group of friends. The Editor was David Adams, the
Features Editor Jeremy Gibson and Alan was the Art Editor, which meant he designed the whole thing.
It was surprisingly earnest stuff for those madcap times, with solemn think-pieces on the Kensington and Chelsea Arts Council
and an undercover investigation by the Herald's Managing Editor, Paul Home, of the outrageous prices at Ronnie Scott's jazz club.
There was also a leader-page article by the Sixth Baron Gifford, better known as Anthony Gifford QC, that called for the
legalisation of cannabis. He has gone on to become one of the country's most prominent left-wing lawyers, setting up a radical set
of barristers' chambers and running it as a co-operative that paid a flat-rate salary regardless of individual earnings. The
experiment, unsurprisingly in the competitive world of the Bar, didn't last. But Tony did: since 1991, he has been dividing his
work between Britain and ganja-friendly Jamaica, where he has a house.
The Herald had none of the subversive naughtiness that characterised, say, such radical magazines as Oz. Perhaps it longed

5O
to be taken seriously, like the alternative 'community' magazine I worked on in the 70s. Alan's design for the Herald's front
page looked like a Russian Constructionist nightmare, full of clashing capital letters of various sizes.
Published by the now-defunct West London Free Press, it grandly promised: Treat the Herald as an alternative to the other
local papers ... we exist to express all shades of opinion.' It purported to be non-politically aligned, but inevitably it became a
forum for left-wing debate.
Its first issue carried advertisements about how to achieve sexual ecstasy and collect stamps, which certainly covered the
waterfront in west London. Page two featured a holiday guide to Turkey and drugs, while the Liverpool poet, Brian Patten, provided
a bit of local colour on page eight as a Netting Hillbilly.
The same group of friends also started a graphic design company called Graphiti. They hired a studio in Berwick Street, Soho,
for Ј10 a week in an atmosphere where everyone smoked pot while working on such groovy design commissions as rock-album sleeves.
'We were successful workwise but absolute paupers because we foolishly went into it with no backing. Everyone paid us four months
late,' Packman ruefully told The Stage and Television Today in 1986.
Dave Granger, sales director of the present incarnation of Graphiti, remembers seeing Alan around while working in Berwick
Street at the time. There were a hell of a lot of strange things going on at that time ... a lot of drinking and drugs. But there
were a lot of good creative people around. Rickman was a very clever cartoonist.'
'Our studio had white walls, sanded floors, trestle tables and no capital. . . and it was very heaven,' Alan somewhat
self-consciously told the journalist Valerie Grove for a Harpers & Queen interview in April 1995.
As with so many of the rock stars whose portentous concept albums he helped to package, four years of art school had been Alan
Rickman's university. Packman's playwright friend Stephen Davis says rather wryly of his own more traditional days at Cambridge in
the late 60s, 'British rock 'n' roll came out of art schools. I kept thinking, "If this place is so great, why isn't John Lennon
here?" And Alan Rickman was probably the best undergraduate that university never had.'

51
To prove it, Davis later wrote the TV play Busted for Alan and another actor friend Michael Feast in which they portrayed old
university mates from Soc Soc (the insufferably twee diminutive for every student Socialist Society) who had gone their separate
ways after graduation.
But Rickman was restless in the middle of all the pot-parties: there was more to life than whimsical sleeve-notes, LSD lyrics
and earnest debates on planning procedures in Hotting Hill Gate. (The latter was to be Rima's speciality, lucky girl, when she
later became a councillor.)
The acting instinct wouldn't go away, and Graphiti was not as lucrative as they'd all hoped. In the stoned atmosphere of the
late 60s, it was difficult to make a tiny, under-capitalised cottage-industry work. They were small fry in a huge shark-pool where
rock art was big business and the conglomerates were swallowing up the competition for the record companies' commissions.
One day Alan Rickman found himself posting a letter to RADA, asking for an audition. At nearly 26, he felt rather foolish
about being a student again. Mothers, particularly working-class mothers, tend to ask exactly when you're going to get a proper job
at that age. But it was now or never. '1 was getting older,' he later confessed to GQ magazine in 1992, 'and I thought, "If you
really want to do this, you've got to get on with it." '
He had set in motion a chain of events that would change his life for ever, although it was to be a long slog. When he heard
the news about his former star pupil, Colin Turner felt quietly triumphant. Alan was to phone 'home' regularly to Latymer Upper
over the following eighteen years, letting Colin know everything about his progress from Leicester to Los Angeles.


blank
3. 'HE'S VERY KEEP DEATH OFF THE ROADS' 52

He won a place at RADA by giving a speech from Richard III, a part that you could argue he has been playing on and off ever
since. Certainly his cartoon Sheriff of Nottingham in Robin Hood: Prince Of Thieves was, in his own words, an amalgam of a crazy
rock star and what the Irish call 'Dick The Turd'.
At 26, he was a mature student in comparison with nearly everyone else. By then, his art-school training had already used up
his grant allocation from the local authority. So he lived at home, got by with the odd design commission and worked as a dresser
to Sir Ralph Richardson and Nigel Hawthorne in the play West Of Suez, watching their work from the wings and spending more time at
the ironing-board than John Osbome's Alison Porter. He not only fetched clean shirts for the men but also Jill Bennett's
post-matinee fish and chips (no wonder John Osbome called the poor woman an overheated housemaid).
Sir Ralph, one of the true originals of the British theatre, was a big hero. 'He was fearless and honest and didn't tell any
lies. And he was totally centred,' Alan told GQ magazine in July 1992.
It's only fair to point out that Nigel Hawthorne, later to act alongside Alan in the BBC's Barchester Chronicles plus a Peter
Barnes play, told me that he couldn't recall his tall, lanky, morose-looking dresser. 'I do remember it being a particularly happy
time, and that Ralph Richardson was always a source of great entertainment. I undertook the role of his secretary so I could be
next to the great man and observe him at close quarters. It seems very much as though Alan Rickman was doing the same thing from
the wings.'
The RADA acting course is renewed for its intensity, and Rickman admitted to Drama Magazine's Barney Bardsley in 1984: 'You do
get hauled over the emotional coals. But my body heaved a sigh of relief at being there. So much of your life is conducted from the
neck up.' He loved the sheer physicality of the rigorous training, and he was old enough not to be overwhelmed The stillness
acclaimed in great actors in fact comes from a body so

54
connected to mind and heart that in a way it vibrates. That's really centred acting. Look at Fred Astaire. You don't look at
his feet or arms - you look here,' he said, pointing to a place between his ribs. He quoted the dancer Margaret Beals, who talked
about 'catching the energy on its impulsive exits through the body'.
Alan won the Bancroft Gold medal (as did his friend Juliet Stevenson in later years) and the Forbes Robertson Prize. He also
shared the Emile Littler award with Nicholas Woodeson at the end of his two-year course. There was always something special going
on with him,' says actor Stephen Crossley, a RADA contemporary. 'I looked up to him as a brother, because my brother had been an
artist at drama school. Alan was very mature as a student: he commanded a great deal of authority. Most people trust him: he
inspires tremendous loyalty. He's the most complete man of the theatre I know. He's a tremendous listener, and he's still the
steadiest person: that's what will make him a wonderful director.
'He won the Bancroft for generic performances: Pastor Manders in Ghosts and Angelo in Measure For Measure. Other people tried
to imitate his style, but he's not easily imitated. He had a wonderful drawl at RADA - very laconic.
I was Engstrand in Ghosts - the character has a club foot, and I had a very big, incredibly camp wooden boot. Alan said to me,
"You'll get the reviews." There was a Camden Journal review and I was well mentioned or, rather, the boot was. He hasn't forgiven
me for that,' cackles Stephen, not sounding too worried. He can bear testimony to Rickman's loyalty to old friends: twenty years
later Stephen was cast in three roles for Alan's Hamlet tour in 1992.
Film producer Catherine Bailey - who profiled him on The Late Show in November 1994 and with whom Alan and theatre producer
Thelma Holt drew up proposals for running Hammersmith's Riverside Studios in West London - was also at RADA at the same time.
1 was six years younger and I always wanted to go into stage management and production,' says Catherine, who looks rather like
a younger version of Joan Littlewood (and said she had never been so insulted in her life when I mentioned this). 'But it was
obvious that Alan was going to be a special actor; we've been friends ever since. People are fond of him: he's put a lot back into
the business.'
And yet he struck some at RADA as rather grand. Deluded with grandeur or not, the 28-year-old Rickman started his career in
the


55
grind of weekly repertory theatre like every other aspiring actor. Very few people went straight from drama school to TV or
film, as they do now, often to the detriment of their craft.
Patrick (Paddy) Wilson, now a theatre producer, was an acting ASM (Assistant Stage Manager) with Alan on their first job
together at Manchester Library Theatre.
'He hasn't changed over the years,' says Paddy. There are no airs and graces about Alan. At Manchester, he played the
Inquisitor in St Joan while I played an English soldier. As the Inquisitor, he acted everyone else off the stage. You got a sort of
tingling at the back of the neck when he came on.' Indeed, the Daily Telegraph critic Charles Henn called him 'superbly chilling'.
'He was a very private guy: he was never one of the lads, going out to the boozer,' adds Paddy. 'He took things very seriously
-acting was his life and he worked very hard at it. I played the butler in There's A Girl In My Soup and Alan played the Peter
Sellers role. I knew I would miss a cue line to come on with a bag of bagels . . . and I was two or three scenes too early. Alan
was so funny about it - Bernard Hill [Paddy was his producer for a revival of Arthur Miller's A View From The Bridge] would have
chopped my head off. 'But Alan would discuss things if you've got a problem. He's never a frightening person.
'Alan was bloody hopeless as an ASM - wouldn't know one end of a broom from the other. But stage management was obviously not
what he was destined for. Bernard Hill said to me "I'm going to be a fucking star" and he meant it. With Alan, when you have
someone that talented, their career is marked out for them. The jobs come to them.'
Paddy and Alan claim to have really bonded when they played chickens together in the panto Babes In The Wood, although their
shared socialism obviously helped.
'Alan is not a grand person; he's not on a star routine. There's no flashy motorcar. A lot of people change, but not him. He's
just Alan Rickman. Bernard Hill has changed so much, and he was an acting ASM as well. When you first meet Alan, you think he's
almost arrogant - there's an aloofness. He speaks very slowly: "Hii...I'm Alan Rickman." I talk nineteen to the dozen, and it took
me a while to get used to his way.
You always feel there's something special about him. He had a fantastic presence on stage. I see him quite a bit still, and
he's just


56
the same. We think alike politically; I'm the only socialist theatre producer I know. Everyone else in the business wants to
be a member of the Garrick Club.'
The theatre director, Clare Venables, was also an actor in the same company. 'I was St Joan to Alan's Inquisitor. We were
never intimate Mends, but he had a presence even then. Very calm, very much of a piece. He's changed remarkably little. I never got
the feeling of him being grubby and stressed-out like most ASMs.
'Lock Up Your Daughters was a terrible production. I did the choreography. Alan played an old man behind a newspaper and sat
on the side of the stage like a Muppet critic. He came out with acid comments about what was going on. I don't remember him ever
doing the drama-queen stuff that most people do.
There was something quite significant about him having had other irons in the fire, what with his background as an artist. He
was someone who was looking rather quizzically at this profession that he'd entered.
'Controlled rage is quite a trick, and he had it. It was always pretty clear that he was a one-off — which is a sureish sign
that there's real talent there. He has a very clear, self-contained way of speaking. That, and his stillness are two great
qualities.'
Gwenda Hughes was also an ASM at Manchester at that time, along with the actress Belinda Lang (who is still a friend of Alan's
and lived for years in the next street to his in Westboume Grove). 'He was very clever - tall, brainy, talented and rather scary,'
was Gwenda's impression of this aloof creature.
The tall, brainy and scary one moved on to two Leicester theatres, the Haymarket and the Phoenix, in 1975. There he made
friends with a young actress called Nicolette (Niki) Marvin who is now a Hollywood producer. Both were late starters to acting,
since Niki had trained as a dancer; and both became impatient with the empty-headed, unfocused time-wasters who didn't knuckle down
to hard work. It was an obvious bond; and, if Rickman gets his heart's desire to direct a film in Hollywood, Niki Marvin will be
his producer.
The two Leicester theatres were both run by Michael Bogdanov. later to be sued (unsuccessfully) for obscenity by 'clean-up'
campaigner Mrs Mary Whitehouse as a result of putting bare-arsed buggery on the stage of the National Theatre, though she claimed a
moral victory.

57
He cast Alan as Paris in a production of Romeo And Juliet, with the classically beautiful Jonathan Kent (who went on to run
London's fashionable Almeida Theatre with Ian McDiarmid) as Romeo. Frankly, Alan just didn't look like one of life's Romeos, though
facial hair was to improve him no end in later years.
'Alan wasn't actually very impressive as Paris,' admits Bogdanov. 'He was very rhetorical and not very good at fights. But
there was a strength and stillness and controlled passion about him.
We live in the same political ward. His lady and mine are very good friends. He's an absolutely natural person: there's no
side to him. His own ego is not to the fore all the time; he has a sense of humour. The cult of "luvvyism" is vastly exaggerated;
actors by and large are sober people.
'He was very striking-looking at Leicester, but I can't say that I thought he stood out fantastically, because I had a
wonderful company of extroverts . . . people like the director Jude Kelly and Victoria Wood's husband, Geoff Durham.
'But Alan was a wonderful company member, supportive of everything that happened. He mucked in with simple chores, a very
prized quality that is quite often in short supply. He was very focused, intellectually very advanced, so he was able to get to the
heart of a problem very quickly. He did street work with children, too.
'It was a very democratic company — even the cleaner had a casting vote for the programme. But after a while, I decided to
abandon that because I thought being a dictator was good for the drama.'
A picture of Alan in a group shot for Guys And Dolls, directed by Robin Midgley and Robert Mandell, shows a Guy in long blond
hair with designer stubble, flared trousers and plimsolls. Attitude is already his middle name. He's easily the most self-possessed
of the bunch as he stares hard, almost challengingly, at the camera in a 'You lookin' at me?' kind of way. Another tough-guy role
followed as Asher, one of Joseph's bad brothers in the Lloyd-Webber/Rice musical Joseph and the Amazing Technicolor Dreamcoat.
It was in 1976, when he joined the Sheffield Crucible, that Alan Rickman met an amusing mouth-almighty from Chicago called
Ruby Wax. They shared a flat. He argued with her about the central-heating levels and all kinds of other domestic niggles; but she
consistently made him laugh. She was not your average


58
repertory company player; she didn't really seem to be a jobbing actress, because the personality was too big to play anyone
but herself
It was Rickman who persuaded her to start writing comedy. And thus was forged a lifelong friendship . . . most of Alan's
friendships are lifelong. Ruby, forever playing the stage American, reckons that Rickman gave her a class that she might otherwise
never have had (oh, come now). For his part, he admired her 'recklessness and daring'. In truth, she knocked a few of his comers
off.
Alan needs funny friends to lift him out of the glooms; and the playwright Peter Barnes became another when Alan was cast in
Peter's new version of Ben Jonson's The Devil Is An Ass for Birmingham Rep. Indeed, it's not too fanciful to see Peter, fifteen
years his senior, as another surrogate father; he is certainly completely frank about Alan in the manner of a fond but
plain-speaking parent.
'I have done eleven shows with him,1 says Peter. 'We have been friends since 1976 and I've worked with him more than anyone
else. 1976 was the first play, my adaptation of The Devil Is An Ass. He had a beautiful voice for the poetry and read it
exquisitely. He told me, "I saw The Ruling Class on TV and it changed my life." So I said to Smart Burge, the director of The Devil
Is An Ass, "Well, we've got to have HIM."
"Alan has a humour of his own,' insists Barnes. 'He brings a great talent to comedy. The thing is that he's terribly,
depressingly gloomy in rehearsal like other great actors of comedy - one thinks of Tony Hancock.
Joy is not a word that springs to mind of him in the rehearsal room. He's a bit of a misery-guts. I want to enjoy art, want
other people to enjoy it. I said to him, "You bring the rainclouds with you and it rains for the next four weeks." I have to be
careful it doesn't spread; that's up to the director. Bui it springs from the best of motives: he's never satisfied and wants to
get it right. Doesn't alter the fact that it's there. But Alan can laugh at himself.' adds Peter. 'When we were working together on
the revue The Devil Himself, I said to him, "I hope we are going to have a lot of laughs. dancing and singing, with this one, but
is that really you. Alan? He burst out laughing at my image of him going around with a raincloud over his head; 1 remember it
vividly.
'He's very "Keep Death Off The Roads". I find his gloom very funny - it's "Eeyoreish" and endearing. People feel affectionate

59
towards his "Eeyoreish" personality, because they wonder what great tragedy lies behind it. He seems to have some private
demons.
'One goes through various stages with friends, blowing hot and cold, but one of the reasons I like Alan is that he has a very
good heart under that curmudgeonly exterior. When Stuart Burge, who was one of my favourite directors, died at the beginning of
2002, Alan phoned me up and said he would like to go to the funeral,' says Barnes, who wrote the 84-year-old Surge's obituary in
the Guardian. 'It was very touching when Alan came, and it's one of the reasons I hope I will always be his friend. There are
certain IOUs you pick up in your life and you should always honour them. Stuart was the one who really got Alan into London from
the provinces with my version of The Devil Is An Ass, because it went to Edinburgh and then to the National; that was Alan's first
exposure to the West End. I think it was very good of him to remember what Stuart had done for him; I think it shows a very strong
loyalty which I place very high as a. virtue, he. has, integrity. Some like to think they did it all on their own, but Alan doesn't
make that mistake.
'Most actors have a feminine side. He manages to be feline without being camp, and does it very well. He designed the posters
for my play Antonio in which he starred at the Nottingham Playhouse. I joked about the photograph of him as Antonio: "There you
are, camping it up." But in fact he's not camp at all.'
It's rather difficult to credit that, what with Alan's eyes ringed in kohl, his hair bleached and permed and that pout in
place. He looks like a decadent thirtysomething cherub suffering from orgy-fatigue.
"The vanity of an actor is endearing,' observes Peter. 'Alan doesn't really like being recognised, but he doesn't like not
being recognised either. If they aren't recognised, they don't exist. It reminds me of a story about Al Pacino who took great pains
not to be recognised - and then complained when he wasn't.'
It was in that hectic year of 1977 that Alan and Rima, still an item after twelve years, decided to move in together.
Although he was doing the dreary rounds of theatrical digs in the provinces, they wanted to show their commitment to each
other. So they rented a small, first-floor flat in a three-storey white Victorian terrace on the edge of upmarket Holland Park. It
was a


60
quiet, private haven just minutes away from the gridlock of the Shepherd's Bush roundabout, a major west London intersection.
Alan was to stay there for the next twelve years.
'With actors, you are buying their personality so you do want to know a bit about their private life. With a writer, it's
usually only the writing that people are interested in. There were hundreds of girls waiting for Alan at the stage door when he was
doing my version of the Japanese play Tango At The End 0/ Winter in the West End. One of the fans recognised me as the adapter one
night and asked for my autograph - but only one,' says Peter with a mixture of regret and relief.
Another old friend from those days is the director, Adrian Noble, who first met Alan in 1976 when Alan and Ruby joined the
Bristol Old Vic, where Adrian was an associate director. 'He was in almost the first play I ever directed, back in 1976: Brecht's
Man Is Man. I stayed with him on a few occasions in an old town house that he shared with Ruby.
Then he came to Birmingham and did Ubu Rex. He played the multi-murderess Ma Ubu, Mrs Ubu, alongside Harold Innocent. Alan was
a hoot. There's a side to him that's a real grotesque, and it was first seen as Ma Ubu. I still have a photograph of Alan as Ma,
sitting on the toilet and soliloquising with a wig on. Though he doesn't normally like wigs.'
In Bristol, Alan found himself playing next door to Thin Lizzy, and later confessed in a Guardian interview with Heather
Lawton in 1986 to being 'knocked out by their high-octane excitement. I'm not trying to be a rock group, but there's got to be a
version of that excitement - otherwise theatre is a waste of time.'
Rickman's association with Peter Barnes was auspicious from the start (Tango At The End Of Winter is, indeed, their only
flop). Barnes' version of The Devil Is An Ass earned excellent reviews when it travelled to the Edinburgh Festival and the National
Theatre.
Alan embarked on yet another drag role as Wittipol, the lovestruck gallant who disguises himself as a flirtatious Spanish
noblewoman. The Daily Telegraph wrote from Edinburgh of the 'Superb effrontery by Alan Rickman', while Alan's