Tribute from Patrick Stewart

The first time I saw Tony Church act he was doing what he did best and almost without equal; bringing into life a complex text, speaking the blank verse with precision, sensitivity, irony and truthfulness. He was Polonius in Peter Hall’s great Hamlet, with David Warner as the Prince. His Councilor to Brewster Mason’s towering Claudius was shrewd, manipulative, dangerous, misleadingly comic and silky smooth. He was, for me, the Polonius of my generation. One day, I suppose, I might be fortunate to play the role and though I will struggle to find a fresh insight into the tragic/foolish figure, Tony’s interpretation will constantly tug at my sleeve and memory will draw me towards what I witnessed in 1965.

Sitting in the audience at The Aldwych Theatre, the Royal Shakespeare Company’s London home, I was an outsider, a young, provincial actor pressing my nose against the window pane that displayed the dazzling work of the greatest Shakespearean company in the world. That Hamlet, audacious, provocative, intelectual, chalenging, exciting, real, was only the second time I had seen the recently created RSC at work. A year or so earlier I had seen John Barton’s glorious ‘sandpit’ Troilus and Cressida with Ian Holm, Peter O’Toole and Max Adrian – breathtaking. Now with this Hamlet before me, I knew that I had one ambition, and one ambition only; to become a part of this company, this collection of talent, this asemblage of brilliance – and six months later, I was.

Following a gruelling audition with Peter and John I had been offered one season of modest work; to understudy Paul Rogers as Falstaff and to play Sir Walter Blunt and Lord Mowbray in the Henry IV’s, The Dauphin in Henry V and take over the First Player/Player King in that same Hamlet in its revival at Stratford. Now I could watch these actors in close up and Tony I learned was to be the King in Henry IV. That meant I would be on stage with him in several scenes. Him, and the awesome, intimidating Ian Holm. In fact at the very start of the first day that I showed up for rehearsals ( that rehearsal room being what is now the Donmar Theatre), we were to read and put on its feet the opening scene of Henry IV Part 1. “So shaken as we are, so wan with care…” Clifford Williams was directing the rehearsal – this was the season of a triumvirate of directors – and after one simple read through of the scene, he turned to the handful of us actors – Michael Jayston as Exeter being one – and said; “So, what do you think?” What did we think? What did I think? Nothing. Nothing at all. No director had ever asked me that question before. But while my brain was still in shock, Tony Church had started talking and although I must have missed it, I am sure his first word was “Well…?” Over the years I got very familiar with this word in Tony’s mouth. Exasperated, querelous, somewhat patronising. Yes, Tony was talking, and talking….and talking. I had never heard so many words emerge from one actors mouth so articulately and passionately. He was talking about the scene, about Henry, about the back story, the objectives, the context, the language, the imagery, the line endings, even the other characters in the scene. What a nerve.

I had gone from shock to mouth agape amazement and finally to terror as I realised Clifford would shortly look in my direction and it would be my turn to ‘say what I thought.’ What I thought? I was an actor. I had come to act, not to think. But now the other actors were joining in a free for all discussion, half of which went right over my head. It was clear that just like Tony, they had been reading, studying, researching, preparing, though none of them with the thoroughness and analytical dissection of T.Church. It was not for nothing that Tony was known in the company and for all his life as The Established Church.

But I was ashamed and humiliated and that morning, mouth dry and perspiring, I made a promise to myself that I would never, never be caught in such a situation again. I would be ready. And my first lesson in readyness would be to get Tony Church in a corner of The Duck, put a pint in his hand and ask him how he did it. Well… I did it and he did it and that is how Tony became my mentor all through that long, thrilling spring, summer and glorious autumn in Warwickshire.

I listened to Tony and I watched him. I studied how the brain and the heart and great language can be fused into ‘life’ on stage. I also began to learn what it means to be a ‘Leading’ actor. What the responsibilties are and where the dynamic lies. That you lead from the front. Not just talking about what you are going to do, but doing it, boldly and fearlessly, never looking over your shoulder to see if anyone is following. And doing it with humour, something I put into practise every night as my company hack and hurtle themselves through Rupert Goulds fantastic Macbeth. There must be room for laughter, for the twinkle in an actor’s eye that the audience never sees, for the ‘in-joke’ and accident that will be giggled over for the rest of the evening. Like last night my being caught by the lights going up for the interval trying to walk through a wall, instead of through the down left exit.

I was the victim of Tony and Ian Holms ‘twinkling’ at the end of the great confrontation scene in Henry Part 1 between the King and Prince Hal. I would stand in the dark behind John Bury’s great iron clad door, waiting to make Sir Walter Blunt’s entrance at the end of this stupendous scene, acted by Tony and Ian with ferocity and eye blazing anger and pain. On cue I would stride through the door - and only once did I let it close on my cloak, thereby pinning me to the wall, at which the two of them just laughed out loud – annoucing some boring rebel troop movements, the King and Hal would share a look and after an interminable pause Tony would say, with mockery dripping from his lips; “Sir Walter Blunt, this news is five days old.” The audience would laugh (relief after the flesh tearing scene they had just witnessed), Tony and Ian would twinkle and I, for the whole long season, never found a reaction appropriate to this put down.

I only acted twice more with Tony at the RSC. Once when he took over from David Waller as a wicked Pandarus in an ill conceived Eurpean tour and again replacing the same actor as Tubal to my Shylock.

And there are other reason for my gratitude towards Tony. One being that on that same European tour, in a restaurant in Geneva he insisted that I order Osso Bucco, of which I had never heard, but which has become my immediate dish of choice whenever I see it on a menu.

However, there is nothing I shall be more grateful to Tony for than inviting me to join him, Lisa Harrow, Bernard Lloyd and Charles Keating in a six week tour of American universities under the title Actors in Residence (AIR). This programme, created by our dear friend and visionary teacher, Homer D. Swander, Professor of English at The Universiry of California at Santa Barbara, put RSC actors into classrooms to share with students their passion and knowledge of Shakespeare. Now Tony was a Cambridge graduate and I left my Secondary Modern School at fifteen without even a diploma, but he convinced me that I could walk into the classroom of a distinguised university English Department and not only have something to say, but believe I had reason and right to say it.

And that brings me back to where I began. There have been many people over the years who have reached out a hand and given me a hoist up to the next level of work and living. But Tony did it to me all through the years of our friendship. And recently, from his hospial bed, he cheered out loud when I told him I was going back to the RSC, at last to give my Claudius in Hamlet. In Oliver Ford Davis I know there will be another brilliant Polonius, but Oliver you will have to live with the certainty that, for me, whenever I hear you speak, there will be a faint echo of a predecessor, friend, teacher and fine actor, the too soon gone, Tony

Tribute from Chris Wiger

Chris Wiger, Publicist, Denver Center Theatre Company

Tony was a friend and mentor to me. More than anyone in my life, Tony Church made me proud of my profession. He made me understand why I love to tell people about the theatre.

Tribute from Steven Cole Hughes

Steven Cole Hughes, Playwright and Actor

Towards the end of Tony's time at the DCTC, when he was legally blind but still acting up a storm, the standard operating procedure when you saw Tony backstage or in the hallway was to identify yourself: "Hi Tony, it's Steve." People who failed to identify themselves properly – “Hey Tony. How are you?” – were greeted with a squint, a moment's pause and then in his smiling, smooth British accent "Hello Person." It was always funny, sincere and classy.

Tribute from Anthony Powell

Anthony Powell, Director and Actor

As is the same with everyone who got a chance to work with Tony as part of the DCTC clan, I've a thousand delightful memories of the man, but mostly think of the wonderful times we shared on productions like The Dresser, Racing Demon, and especially Someone Who'll Watch Over Me. The kindness and support he unfailingly extended to me as a colleague proved a great gift over the years, particularly when I was first starting out as a director and had no earthly idea what I was doing. But of course this was Tony's modus vivendi; he loved the theatre and everyone in it completely, unstintingly. And he never let anyone forget that he was first, last and always rooting for them, "In for a penny, in for a pound." A lovely man.

Tribute from Nagle Jackson

Nagle Jackson, Playwright and Director

I first saw Tony in an RSC production at Stratford of Timon of Athens (ages ago) where he appeared with Paul Scofield who preceded him in death by just a few days. Scofield was shameful; he phoned in the performance (a matinee). I was so disappointed but this Tony Church guy was interesting. The next day I saw him in The Jew of Malta and he was terrific. Imagine my surprise and delight when many years later I found myself having the audacity to direct him! What fun we had in You Never Can Tell and Travels With My Aunt, The Quick-Change Room and two of my own plays, The Elevation of Thieves and Taking Leave. I wrote Taking Leave with Tony's voice in mind and he surpassed my wildest expectations. What a joy and what a privilege to have known and collaborated with this genuine man of the theater. "There's a great spirit gone".

Tribute from Jennifer McCray Rincon

Jennifer McCray Rincon, Co-Chair of Acting, National Theatre Conservatory

I will tell you that when I found out about his death yesterday I called my mom. She knew Tony for many years. She said, ”I am so sorry I loved him so much but do you know what he loved you so much.” That was Tony’s great gift to me he celebrated me and loved me in a way that always made me more than I am. That is what he did for everyone around him. He made people feel the best of themselves and they always grew and became what he imagined they could be. I am here because of Tony. He found me so to speak. He was at the birth of each of my three children and though we had a professional working relationship he was a member of my family. I will miss him very much. Last night Stephanie Cozart and I went to the Teatro and drank some wine for him and looked at his pictures on the walls and remembered how much he is a part of everything we do here.

Tribute from Elijah Alexander

Elijah Alexander, Actor

The stars in the sky have dimmed as another shoots across and goes out in a blaze of glory. He will be missed.

Tribute from Daniel Renner

Daniel Renner, Dean, National Theatre Conservatory, Denver Center Theatre Company

When I arrived in Denver in 1996 to become the dean of the NTC I knew it was a tall order to fill. How do you replace a man like Tony Church who had served as the dean for seven years and was beloved by one and all? Well, Tony being the consummate professional took care of that by mentoring me and being my biggest booster. His enthusiasm, wealth of incredible stories, and daily "Hello luv" made me feel at home; made me feel part of the larger theatre world in which he was a titan. Now that Tony and his friend Paul Scofield, who died a few days before him, are up in that great repertory company in the sky, I expect they are reworking bits of their famous production of King Lear for an extended run. I look forward to seeing it.

Tribute from Barbara Sellers

Barbara Sellers, Former Producing Director, Denver Center Theatre Company

I'm glad that Tony is at peace...it has been a hard final year for him (and Mary). He led a wonderfully adventuresom life and he never stopped enjoying himself. He was childlike in his awe of new discoveries and it was infectious....each new encounter in life tickled him. I suspect that we all feel very fortunate to have shared a part of the journey with him. I hear his laughter and know that he's free.

Tribute from Donovan Marley

Donovan Marley, Former Artistic Director, Denver Center Theatre Company

Tony combined talent, skill, generosity of spirit and a spontaneous – almost childlike – sense of curiosity, adventure and fun. His personal artistic discipline commanded the complete respect of his colleagues – in fact they adored his high energy, his outrageous stories and the loving support he gave to each of his fellow artists. His body of work is a remarkable legacy and I – along with the rest of his Denver fans – was privileged to share a small corner of it.

Tribute from Kent Thompson

Kent Thompson, Artistic Director, Denver Center Theatre Company

Tony Church was a rare man – a remarkable leading classical actor of his generation AND an extraordinary teacher, coach, director and mentor to so many actors who have since flourished in their own professional careers. And through it all, he was inspiring, generous and filled with love both for the theatre and its people.

Tribute from Donald R Seawell

Donald R. Seawell, Chairman Emerutis, Denver Center for the Performing Arts

I first met Tony in 1964 when I had the honor of bringing to America two Royal Shakespeare Company plays to celebrate Shakespeare’s 400th birthday. The plays were King Lear and The Comedy of Errors. Tony had a leading role in each. Recently that production of King Lear was overwhelmingly voted by members of the RSC as the finest production in the history of the RSC.

Subsequently, I was asked by the National Endowment for Education to bring to America an RSC play which they would finance provided the stars taught at a college or university in the city where the play ran. The RSC agreed and Tony was one of the stars. He taught at Denver University when the play was in Denver. The heads of the University were so delighted with his work that they asked him to stay on and gave him an honorary doctorate.

When I created The Denver Center for the Performing Arts, Tony was a natural—both as a leading actor and as Dean of our National Theatre Conservatory. He remained a vital part of our theatre company until his retirement. His skill, his vivacity, his knowledge and his dedication have meant so much in the growth of the Denver Center Theatre Company and the DCPA.

Tony was also a good friend, and I shall miss him very much. His death occurred only a few days after that of the great Paul Scofield, who played Lear in the RSC production. They may already be working on a new production in an even greater theatre.

Message from Judith Turner, niece

Uncle Tony was a big influence in my early life. All through my teens, when he was a leading actor with the RSC at Stratford, I stayed with him and the family whenever possible, seeing all the shows, going to all the first night parties and becoming immersed in the whole theatrical thing! Inspired, at 19 I got a job in the about-to-open Festival Theatre at Chichester, eventually going on from there to ABC Television at Teddington and then the Aldwych.

When Tony got the job to run the Northcott at Exeter in the late 1960s I was thrilled to be asked to join him as his PA. It was a new departure for him to run a theatre but he turned out to be a very successful Artistic Director. He put the Northcott on the repertory map - the theatre was always alive with talent and excellent productions. What a time we had. It was fantastic!

So, I am forever grateful to you, dear Uncle, for guiding me into a career and life that was different, exciting and never, ever, boring.
All love and many thanks
your niece
Judithx

Tribute from Jamiie Mann (student of Tony's at Denver Centre)

I have never met an instructor and actor whom I have admired more. I always found his work with us as student to be free of ego and agenda. That, in itself, is a rarity. He was a generous and nurturing teacher and artist and showed tremendous warmth towards me-- as your friend. I know my classmates, especially those I count as friends, had nothing but love, admiration, and respect for him. We are all experiencing, at the very least, a fraction of your loss. You and your family are in our prayers and thoughts.

For Daddy, on reaching 70

There’s something about an older church:
years drape its songs in garlanded delight;
the veneration of generations smoothed by the rears
of Sunday bests into the years of wooden pews;
walls warmed with murmurs of birth and faith and love alight
with candle-twinkles in the glass stained bright
from many histories and tragedies and comedies and breath-light melodies sung bold and out of tune.
Mature yews indulgent at the glint of moons
new born.
Yes, there’s something about a church in its older form.

With love
Madeline
29th June 2000

Tribute from Doug Harmsen

In the spring of '92 Tony played Einstein to my Heisenberg in the Denver Center Production of "Uncertainty", my first Equity job. Coming from Juiliiard where I'd been abused by mean, old Brits, I was instantly wary of Mr. Church. How wrong I was! There could've been no dearer, sweeter, more lovely man to share the stage with. And what a teacher for a beginner like me! I learned so much from him just in that first show. What an actor! I'm at a loss for words to tell of all that Tony meant to me. He loved to tell how, after drying repeatedly during the opening night of his Othello, Sir John Gielgud said, "Keeps me fresh, Tony! Keeps me fresh!" Tony ALWAYS kept it fresh with his irrepressible love of life and of the theatre. Remembering him reminds ME to keep it fresh. Slow curtain, Tony. All shows close. But your theatrical DNA is in us now and we will pass it on to those who never knew you and so your ghost light will shine on into this loving darkness for as long as we've got two boards and a pulse.

Doug Harmsen

Tony Church, actor, father, husband, friend

Tony Church, actor, died peacefully in Oxford on 25th March aged 77.
The funeral service will be held at Stratford Town Hall, Stratford-upon-Avon on Friday 4th April at 11:00.
Contact: tchurchfam@googlemail.com
No flowers please. Donations to the Actors' Benevolent Fund
www2.actorsbenevolentfund.co.uk