Welcome to the second issue of Stage Struck, which provides a focus on the career of Derek Jacobi.  Stage Struck is an occasional series of booklets which contains interviews with members of the acting profession.  All profits from the sale of Stage Struck will go to the British Diabetic Association, and you can find out more about the BDA on page 27 (click HERE).
To set the scene, this interview with Derek was conducted in February 1990 in London, during the filming of The Fool, prior to his involvement with Kean.  
Why that particular title?  Well, those of you who were able to see Kean, either at the Old Vic or during its pre-London tour, may find that the title strikes a chord.  For those of you who were unfortunate enough to miss this marvelous performance, allow us to explain:  Beauty, Royalty and Genius are the three elements in the play.  The beauty being Elena, Countess de Koefeld;  royalty being the Prince of Wales, and genius being Edmund Kean, himself.  
The dictionary provides the definition of the words in our title:
Beauty:  the quality of a person that gives pleasure to the senses, or a brilliant example
Royalty:  of Royal Blood
Genius:  a person endowed with extraordinary intellectual power as manifested in creative activity.
  As all three words apply to our subject, we thought it would make an apt title.  While Sir Laurence Olivier was a modern day king of the theatre, Derek Jacobi is without a doubt one of its princes, and one who has given a great deal of pleasure to many people with his extraordinary acting presence.     

We would like to offer our special thanks to Derek for giving up so much of his valuable time, and for providing us with a rare insight into one of Britain’s finest actors.  A special thanks also to Edward Hardwicke (our first victim!) for writing the forward which appears on the following page.  And of course, our thanks to all those listed who have allowed us to use their photographs.       

  Pam Clarke and Yvonne Parkin

Kean, 1990

Foreword
By
Edward Hardwicke

In 1964 I joined the National Theatre to play a small part in Laurence Olivier’s Othello.  Though I had been earning my living as an actor for nearly 10 years, it was not until that point that I truly started to think – and act – as a professional.

The whole rehearsal period for Othello remains in memory as sharp as yesterday, but for me there were two outstanding moments.  The first was the remarkable reading of the play when Sir Laurence almost gave the performance that he unleashed on the first night.  The second was the first time I watched Derek working with John Dexter, our director, on the Reputation Scene.  It was a revelation.  I had never seen Shakespeare made as accessible and real, or examined with such understanding and humor.  I remember thinking how lucky I was to be part of such a company.

Derek became Laurence Olivier’s SAS.  Whenever there was a crisis – an actor ill, or missing, Derek would be rushed to the scene.  His prodigious technique, concentration, and ability to learn texts – I have never known anyone faster – were taken full advantage of.  Sir Laurence always knew a good thing when he saw one.

Derek has given many memorable performances, and only a few weeks ago, I was fortunate enough to see his latest – Kean.  It was thrilling to watch a wonderful actor – flying at the very height of his talent, and at the Old Vic, which I will always think of as Sir Laurence’s Theatre.  The Old Boy must have been looking down with a smile on his face.

This is a marvelous interview.  It is supremely honest and revealing.
Just like Derek’s acting.

Edward Hardwicke