Flowers Final 28:02:25 - Flipbook - Page 97
Sir Fordham Flower 1904-1966
From his earliest childhood Fordham had been immersed in the affairs of the Memorial Theatre. When he
was six he walked on in the "Merchant of Venice" in which Ellen Terry played Portia, and in his teens ran a
club where members could make tea and discuss the productions. On taking office as chairman he was
immensely loyal to his father Archie but not blind to his failings; seeming to have a clear knowledge of his own
limitations. He downgraded the role of chairman and insisted that the director of the theatre must have greater
powers.
In 1948, Fordham Flower appointed Anthony Quayle as artistic director and within seven years almost every
major actor of the British stage, including Olivier, Richardson, Gielgud, Ashcroft and Redgrave had played at
least one Stratford season. Fordham and Quayle were alike in manner, enthusiasm, aims, and their war
experiences. They also took pride in the fact that the theatre was self supporting. Amongst his development
plans, Quayle wanted a training school attached to the company to develop younger actors, and he invited
Glen Byam Shaw to Stratford as joint artistic director in 1952. Like Quayle, Byam Shaw had excellent contact
with leading actors, directors and designers. The 1955 season which included Laurence Olivier and Vivien Lee
was a triumphant success. After being so long regarded as provincial and second-rate, the Memorial Theatre
was now recognised as a leading theatrical force.
When Quayle left the company, Fordham appointed Peter Hall as the new artistic director. It was whilst on
tour in Leningrad that they worked out the Memorial Theatre's future. Hall's suggestions were radical and
innovative in theatrical terms and overthrew some of the most long cherished policies upheld by Fordham and
Archie. Stratford would acquire a London theatre and artists would be put on long-term contracts. Fordham
was aware that the end of an era was approaching and it was testimony to his daring and insight that he
accepted Hall's proposals. In addition, they changed their name to the Royal Shakespeare Theatre, and the
Royal Shakespeare Company, as confirmation of their national importance. The burden of subsidy which the
Flower family had carried for 100 years would now become a national concern.
In 1962, All three major Sunday newspapers were to deplore the RSC's lack of subsidy. The future National
Theatre neither wanted a competitor across the Thames at the Aldwych nor it's own efforts at subsidy affected
by any future Royal Shakespeare Company claims. The row developed into a personal confrontation between
Olivier and Peter Hall and Fordham Flower. After considerable lobbying, Peter Hall and Fordham won the
battle and gained a small subsidy.
In 1964, the RSC launched the first world theatre season, and stepped up the touring program to Europe and
America, establishing a reputation for radical theatrical excellence which would make the RSC the most
internationally celebrated of all European theatre companies. However, in 1964, an innovative production of
the Marat/Sade provoked Emile Littler to attack the subsidised "peddling of the filth" at the Aldwych. He
apologised and the whole affair died down. It was the last time that Fordham would steer the company through
a crisis.
From 1965, the RSC saw a period of decline. The Aldwych which was proving very costly to run and the Arts'
Council could not increase the subsidy. Tragically Fordy became fatally ill in 1964 and died two years later in
1966. He had successfully carried forward the Flower legacy of selfless commitment. He brought a new vision
to the theatre which led to revolutionary changes in its development. He was knighted by her Majesty the
Queen in recognition of his services to British Theatre and the worldwide appreciation of William
Shakespeare.
