As Luck Would Have It

36 The RSC

37 Proboscis magnifica

38 The Jacobi Cadets

39 Two broken codes for the price of one

40 Life among the great and good

AGE VII STRANGE EVENTFUL HISTORY

41 My new family

42 The summons

43 Walks on the dark side

44 Russell Crowe’s bum

45 Shakespeare’s end-games

46 Aren’t we all?

Picture Section

Afterword and Acknowledgements

Copyright

About the Publisher

THE SEVEN AGES (#u19594c11-3cdd-5aa1-bd26-bb473152c50b)

All the world’s a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages. At first, the infant, Mewling and puking in the nurse’s arms. And then the whining school-boy, with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress’ eyebrow. Then a soldier, Full of strange oaths and bearded like the pard, Jealous in honour, sudden and quick in quarrel, Seeking the bubble reputation Even in the cannon’s mouth. And then the justice, In fair round belly with good capon lined, With eyes severe and beard of formal cut, Full of wise saws and modern instances; And so he plays his part. The sixth age shifts Into the lean and slipper’d pantaloon, With spectacles on nose and pouch on side, His youthful hose, well saved, a world too wide For his shrunk shank; and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything.

Shakespeare, As You Like It, II, vii.

PROLOGUE (#u19594c11-3cdd-5aa1-bd26-bb473152c50b)

The boy with the veil (#u19594c11-3cdd-5aa1-bd26-bb473152c50b)

It shimmers and enchants; it belongs to a secret, magical, forbidden world, and I have always wanted it.

She keeps her glorious white silk wedding veil – part of her wedding trousseau – in her wardrobe, and I sometimes sneak into my parents’ bedroom and gaze at it. And then one day in 1945, when I am six years old and they are both out at work, I creep into their room, open the wardrobe and carefully lift out the veil. I drape the gorgeous white material round my shoulders and over my head, and, swishing it around and puffing myself up like mad, I go out of the house and parade up and down Essex Road.

We East London kids like to play out in the Essex Road and the adjoining streets, and do so in complete safety. The streets of England are our playground. We make dens in the front gardens, and dream and imagine we are other people and characters. From as early as I can remember I have been excited by the idea of dressing up, and this is my first recollection of being in costume.

Perhaps it is to impress Ivy Mills that I have worn Mum’s wedding veil, though my first girlfriend is Winnie Spurgeon. We play hopscotch, and doctors and nurses, with two other girls in the street and we chalk our initials on the pavement. Yet it is Ivy, the prettiest of the three, who has now become my favourite. The boys in my class start to chalk on the pavement, ‘DJ LOVES IM’, and I will do anything to please her.

But on this day I know I’m not just pleasing Ivy. I know in some instinctive way that I am performing, perhaps for the first time in my life, and suddenly all the world – or at least Essex Road – is my stage. And in transforming myself, and entertaining Ivy, I have a sudden insight – a sense of who I am, and who I could be, when I’m not just being myself.

I can become other people in my imagination – but can’t we all? I can be a hero or villain, strong, weak, timid, arrogant, crafty, trusting, passionate, destructive, nurturing ... I can be anything I want to be. After all, I’m a human being, full of everything you can possibly imagine.

Of course Ivy, Winnie and my friends laugh at me and are most impressed. I play up to it for all it’s worth – strutting, waltzing, skipping, galloping around the pavement until my veil is finally shredded to bits on the front garden privets.

Mum was back home when I returned. She was waiting.

‘Well, this is it,’ I thought. ‘She’s going to go completely bananas at me when she finds her precious wedding veil torn into tatters!’

I was starting to cry as I stood there ready for her to tear me to shreds – just as I had torn her wedding veil.

But her reaction wasn’t anger: she hardly told me off at all.

From that moment I continued to fancy myself in the veil. The idea of the veil stuck in my mind as a garment that, whoever wore it, both concealed and revealed the person. Yet the actor in me, the dressing-up part of me, was a mystery which I never could understand, right from the beginning – and that still remains the case today. I can only describe it as a magical process.

Later I would say that the actor must somehow have got in there right from the start, at the moment of conception, but God knows where he came from. Was I simply born an actor, as grandly titled by Edmund Kean – ‘A prince and an actor’ – a part which I was to play later in Jean-Paul Sartre’s play? Even then, in that earlier time as a child, the first part I ever acted was a prince, and this prince was by no means to be the last.

We take it for granted that actors can act; the skill or craft – or the trick – is to make people believe they are seeing somebody real on stage, not an actor acting. Ideally they should leave the theatre talking about the person they’ve seen and the emotions they’ve felt, not saying, ‘Gosh, isn’t he a good actor?’ That suggests that it has been merely a spectator sport, and the actor has been showing off. Audiences or viewers want to believe they have been in the presence of a real person.

But theatre, film and television are trickery; a bit of a performance works, and I glow to myself. I know I’ve managed to carry it off, and it is a moment of pure, private pleasure. As every actor does, I have felt the power and the glory of trickery and mystification.

Yet who would ever have suspected that that little boy who was so excited at putting on his mum’s wedding veil would in time come to play real and fictional people – Hamlet, Lear, Hitler or Alan Turing, and a great host of others? Who could ever have known that he would come to live in the palaces or grand locations of his games and imagination, or re-inhabit in stories the real places, such as Bletchley, or the suburbia-like lower-middle-class Leytonstone, which had an importance in his early life?

It was the fate and destiny established way back in my past, in my childhood or before, that there would be many, many parts, well over the 200 mark through my seven ages, behind which I would hide my true self, conceal myself as behind a veil, yet at the same time be able to reveal some of who and what I was.

AGE I (#u19594c11-3cdd-5aa1-bd26-bb473152c50b)

INFANT, MEWLING (#u19594c11-3cdd-5aa1-bd26-bb473152c50b)

1 (#u19594c11-3cdd-5aa1-bd26-bb473152c50b)

THE FRONT ROOM (#u19594c11-3cdd-5aa1-bd26-bb473152c50b)

It was all a ghastly mistake. The state of the world at that time was such that no one thought of having a family. Hitler was already advancing fast and the world was on the brink of war when I was born in East London on 22 October 1938.

This was in our front room in Leytonstone. My mum – Daisy – struggled in labour for forty long hours to give birth. Forty hours! Has anyone ever taken so long to be born? It must be a record. Mum was completely worn out, and when at last I’d been delivered she sank back and groaned, ‘Never again!’

‘Is this what it’s all been about?’ said our doctor, as he held me up with just his right hand to show Mum and Dad. Mum and I were then placed in an improvised oxygen tent to recover. She had no more children.

The labour may have been endlessly protracted and I was probably the most appallingly mewling, puking infant, but from that moment on I was the sole object of my parents’ love and attention. They lived for me, exclusively and without reservation. Each Christmas Day, for instance, I would wake, rub my eyes and gaze in utter wonder at my presents at the end of the bed: not one but two pillowcases stuffed full of presents of every kind – games, toy trains, Meccano, jigsaws – all just for me!

There would never be anyone else in the house besides the three of us: my parents and me. It encouraged me to have the highest ideals and aspirations, and it may well be that the romanticism stemmed from this extraordinary good fortune of being favoured as an only child, with devoted and loving parents, while they, too, grew steadfastly more romantic about me. They always believed in the best of me – and wanted the best for me – in spite of anything that might not prove them right.

So from the start I had no rival; at times I might have missed the presence of a brother or sister, but actually, I had to remember, not only did I get all the pocket money and all the presents, but I carried all their fears, love and aspirations. As my mum Daisy and my dad Alfred both worked, I thought at first we were favoured with wealth and good fortune, but when I found out we weren’t, it didn’t really matter.

There were few disadvantages in being so well favoured from the start. I might certainly claim that I’ve been ‘dogged’ by good luck, so maybe that’s my misfortune, and the huge obstacles to overcome that most people have to face to make their way in the world – I’ve had very few of these. Heartbreaks yes, but that seriously – as we shall see – is another matter. For I was born a romantic, however much I might want to wrestle with it and deny it. Seventy-five years later I am still as much a romantic as I ever was, and still as unromantic in appearance as ever I was.

Yet I have an abiding sense of never having been taken quite seriously enough – that is, it goes without saying, as I take myself! I’ve always felt there was something about me which doesn’t give off that radiation, that sense of power – either it is my look, or the life journey I’ve been through – which doesn’t have suffering crying out at every twist and turn. It is true that few have taken me as seriously as I’d like to have been taken.