As we know the world of theatre and film has many egos in it. This is particularly so of celebrities and well known performers. They usually have huge drive and ambition and a singleminded quest to succeed. It’s not for the faint hearted.
I want to talk about one of our patrons Alfred Molina. I first met Fred in 1969 when we were both in the National Youth Theatre. We were in a play called Fuzz. It was all about student protest which was very topical at the time. It had a huge cast and we performed at the then Jeanetta Cochrane Theatre in Holborn. We were both London schoolboys and during rehearsals people relaxed and became friendly. The NYT seemed to largely consist of public school boys but at that time they were actively seeking young people from a wider social divide. Fred and I were in that category.
Later that year I went on a school trip to the theatre and by chance Fred was there with his school. Strange how these coincidences happen in life.
I watched Fred’s entry into the profession with interest. He was obviously talented and totally at ease with performing, but also in his life. There was a humanity about him.
A few years later he was at the Royal Court Theatre in Serious Money which was a big hit. I went to see it and after bumped into him. We ended up getting the tube across to East London together and he couldn’t have been friendlier. He was happy to talk about himself and his life but was also interested in me. Conversation was easy.
A few years later I set up a youth theatre in London, Catherine Tate was a member. I wrote to Fred and his then wife the actress Jill Gascoine. I invited them to be patrons and they accepted. At the time Jill, who was a well known TV actress, was starring in 42nd Street at the Theatre Royal Drury Lane. Sadly the youth theatre disappeared along with the Inner London Education Authority.
In 1989 I saw him at the National Theatre in Speed-the-Plow. It was quick fire dealing and double dealing in Hollywood and boy did he have a feeling for how these power brokers work.
Fast forward another couple of years and I was setting up Theatretrain. I asked Fred if he would be a patron and he agreed again. Around this time he relocated to Hollywood and built an international career becoming a big star with many films and awards to his name.
A few years ago he came to London with a production called Red about the painter Mark Rothko. On stage he gave a totally committed performance, in fact he was on stage deep in thought from when the first audience member arrived. Afterwards Jenny and I went backstage to meet him and he couldn’t have been more gracious. He was genuinely keen to hear about Theatretrain. There were other people there, old school friends but he made time for everyone.
He has stayed in touch and I keep him up to date with what we do. He understands what we stand for. And this is my point. He cares about people, it’s not all about him. I contacted him in January when those frightening fires raged across Los Angeles. He was quick to say what a lucky escape he had made and made much more of friends who had suffered terrible losses.
What shines through is his integrity. I think you see the essential decency of Fred in his acting. He brings compassion and empathy to his work but in my opinion it only works because that is the authentic him: modest, caring and humble. I am glad to know him, even in a small way.
He reminds me what we started out with – that the company, the other people, are just as important as you and you should never forget it.
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