When, back in the early 1990s, I was writing an unauthorised biography of Albert Finney, Peter Nichols, proved, unsurprisingly, a colourful contributor, having collaborated so successfully with the actor before, he explained, “a bit of a falling out”.
Their first association was for the 1968 Broadway production of A Day in the Death of Joe Egg, which was to pay off handsomely for Nichols, so much so that he was able to buy a £12,000 house in desirable Blackheath, south-east London, which he jokingly nicknamed Albert Hall.
