When, in the mid-1980s, under the artistic directorship of Leon Rubin, I was an assistant director at the Bristol Old Vic, Roger Rees was appointed associate director. We became firm friends and I have seldom enjoyed sharing the ups of and downs of life in a regional theatre so much with anyone. We shared an office, talked and laughed a lot and generally helped each other out. Roger would say: “Leave the door open – if people want to hear what you’re saying, let them and then they won’t be suspicious.” For Roger, you could overcome all obstacles if you were true to the work and true to yourself.
It was a brave new era, although it barely outlasted both our contracts, with some extraordinary work on both the main house and studio stages. Roger’s fast-moving, brilliant production of Julius Caesar played in the studio, in schools and in village halls across the city – rocking venues wherever it went with its energy and noise. As an actor he led the main house company in Dario Fo’s Archangels Don’t Play Pinball (directed by Glen Walford). His love of anarchy, risk and adventure were infectious. He was a true leader, who made sure everyone felt important (including the audience). He regarded himself as part of the team – and had an unshakeable belief in the power of the ensemble.
It was much due to Roger’s inspiration and gentle teaching that I found the confidence to go on to make a career as a director, and I will never forget his kindness and warmth.
