ALAN RICKMAN ARCHIVE

BOX A: Alan Rickman’s Diaries and Appointment Books

The appointment books date from 1972, and the diaries from 1992.

Both the appointment books and the diaries are sold without copyright.

BOX 1: Portrait photography

BOX 2

The Latymerian. Issues 188-190, Winter 1960-Summer 1961. Sketch of a boy in school
uniform on inside back cover. OL News. Photocopies of 3 t/s drafts of AR talk at School
Prize Giving [see Box 20 for holograph drafts]

Notebook: Research drawings in the structure of costume. In pen and black ink over pencil.
63 ll., with costumes from Elizabethan period through Regency to dandies

Bound notebook: History of Art Notes (Impressionists, post-Impressionists, the Nabis, Art
Nouveau and more. AR notes with postcards and prints laid in.

Typescript: ‘The subconscious and distorted as elements in the art of Goya, Van Gogh and
the Surrealists. Alan Rickman. Graphics.’ Essay with holograph additions, deletions

Scrapbook with collages and pictures of athletes, dancers, actors, swimmers – all evidence of
movement

GraphicsRCA: Fifty Years and Beyond. 2014 [see pp 62-3]

Newspapers etc from February 1946 [AR b. 21 Feb 46]

BOX 3

Request for information for Royal Court 50 with 3+ pp of AR notes tracking his involvement
[see published volume where reproduced]

Email from Bill Macy sending script with AR holograph draft reply written at top; various
other letters with AR holograph drafts

Cards with long messages from Angela Pell (author of Snowflake) about his performance and
all the work he did on the script

Letters to AR about a masterclass at the Haymarket (2000)

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Publicity material and schedules for Love, Actually

[Fake news] Newspapers with front-page articles and photos of AR as Lukas Hart III for Bob
Roberts

5 pp. of AR quotes from interview for Die Hard DVD

Extracts from AR interview for NFT: typescript and CD (2004)

PR, reviews for Robin Hood, Prince of Thieves with a few letters

Articles about Snowcake and autism

Articles about politics, Ken Follett project (4 photos AR with Barbara Follett, Neil Kinnock
etc), Single Homeless Project

Messages and cards re 1992 BAFTA award

Unsolicited fan mail

Info/programmes re Yukio Ninagawa and performances in London and US

[File marked Personal:]

Letters related to campaign re Library Theatre Manchester and Wythenshawe Forum

companies; cutting of AR letter as printed in Manchester Evening News

Article re: AR bringing together Lindsay Duncan and Eddie Izzard for David Mamet’s
Cryptogram

Reviews, theatre programmes, some correspondence

Letters from two students who interviewed AR for college projects/dissertations agreeing not
to publish in any form both May 1992

Pre-page proof printout of article on AR due to be published in Vanity Fair July 1995 but
‘pulled today 90 minutes before the issue was to go to press. Graydon Carter liked the piece,
liked the writing, liked you, but wasn’t “riveted”: “no sex scandal”. I thought you might like
to see the thing as you put six hours into it.

BOX 4:

Harry Potter: artwork

-- Preview lobby card for Harry Potter and the Prisoner of Azkaban, Crew Creative
Advertising, 22 March 2004, strapline 'Character Will Be Tested'. Signed by Rickman.

-- i) Single proof strip of five lobby cards for Harry Potter and the Prisoner of Azkaban,
Crew Creative Advertising, 22 March 2004. Mounted on card. Signed by Rickman.

-- ii) Same advertising copy but printed on paper. Signed by Rickman.

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-- Three card-mounted lobby preview cards for Harry Potter and the Deathly Hallows pt. 2
with an image of Snape and the strapline 'It All Ends'. All three signed by Rickman.

-- Mock poster on paper for Harry Potter and the Prisoner of Azkaban featuring Rickman in
less than Snape-like attire, with the strapline 'Discover The New Look Of Hogwart's'. Signed
by Rickman.

-- i) Self-portrait by Rickman, signed and dated ''12'.

-- ii) Two smaller versions of the same artwork, unsigned.

-- Three children's drawings, two of Snape.

BOX 5:

Harry Potter

BOX FOLDER OF SIGNED MEMORABILIA

i) Two sets of Harry Potter first day covers, issued 2007, each signed twice by Rickman on
the protective strip over the stamps, and on the interior of the fold-out presentation document.

ii) An album of 20 US First Class stamps with a Harry Potter theme, the booklet signed by
Rickman to the front panel.

iii) Prop gold bar and three coins from the Bank of Gringotts, the gold bar signed by Rickman
on the base.

iv) Snape action figure from the Mattel *Harry Potter and the Sorceror's Stone* series.
Unopened in the original packaging, which is inscribed by Rickman.

v) Gold-coloured metal pocket watch and chain, the watch case carrying the Hogwart's shield
and the words 'HARRY POTTER CAST AND CREW 2001'. Housed in a presentation case
which is itself housed in a card sleeve, which is signed by Rickman.

vi) Ollivander's wand box, signed by Rickman.

vii) Two prop student note books from Hogwart's School of Witchcraft and Wizardry, one
with the names 'Harry Potter (Daniel Radcliffe)' to front label in Radcliffe's hand, the other
with the names 'Ron Weasley (Rupert Grint)' in Grint's hand. Contents blank.

viii) Two crudely-made 'Dobby's, awarded to Rickman in-house. An accompanying printed

slip reads:

'After the unfairness of the recent Oscars, in which Harry Potter did not receive any of the
awards it was nominated for, we decided to come up with our own awards: The Dobbys, to
show our appreciation of its wonderful cast and to remember the brave free elf.

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Alan Rickman won 2 Dobbys because he is totally amazing. His first one is for "the best back
story" after his portrayal of The Prince's Tale reduced worldwide audiences to tears. His
second one is for "being Alan Rickman". Nuff said. Congratulations - display this award with
pride!'.

ix) A reproduction wand, unboxed.

A SMALL COLLECTION OF POTTER-RELATED BOOKS

i) Catalogue for A Collection of Wizarding Fairy-Tales by J. K. Rowling, issued by Sotheby's

for their sale in London on 13 December 2007. Signed by Rickman on ffep.

ii) Ministry Production Manual 2009-2011. A gift from David Barron, David Yates and David
Heyman, with their typed presentation letter laid in.

iii) Quidditch Through the Ages. Bloomsbury, 2001. Signed by Rickman on front wrapper.

iv) TREVARTHEN, Geo Athena. The Seeker's Guide to Harry Potter. O Books, 2008.
Inscribed to Rickman by the author, and with a presentation TLS laid in.

v) ?-language edition of ?, front panel signed by Rickman.

vi) A small quantity of Potter novels, hard cover and paperbacks, unmarked but with dog-
eared place markings suggesting Rickman used them for preparation and research.

BOX 6: Rickman’s own miscellany of DVDs, CDs, VHSs

BOX 7: Film Festival Brochures

BOX 8:

Harry Potter

Folder 1: PHILOSOPHER’s STONE

Working script for Harry Potter and the Philosopher's Stone. 117 mimeographed pp., each
watermarked with the number '123', secured with two split pins to left edge. No title page.
SNAPE's lines highlighted throughout. Scenes featuring SNAPE with their corners turned
down.

-- A quantity of rewrite pages in a variety of colours, all watermarked '123'. SNAPE's lines
highlighted, occasional notes in Rickman's hand to versos. Printed Harry Potter bookmark
laid in.

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Paper folder housing both script and rewrites, with the film's title written in Rickman's hand
to front panel.

The script begins on p. 5 with Sc. 20; its first printed words are '1-19 OMITTED & PAGES
1-4'. Whatever opening to the Harry Potter series was originally envisaged, it was a)
elaborate, and b) cut.

FOLDER 2: CHAMBER OF SECRETS

-- Script for Harry Potter and the Chamber of Secrets. 127 mimeographed pp., each
watermarked with the number '233', incorporating rewritten pages in a variety of colours, and
variously dated. Title page declares: 'Shooting Script 24/08.01 Shooting Script 23/10/01'. A
fine copy and apparently unused copy, with no markings.

FOLDER 3: AZKABAN

-- Working script for Harry Potter and the Prisoner of Azkaban, paginated to p.126 but
incorporating numerous rewrites which increase the page count, loose mimeographed pages
watermarked with the number '265' (and once - p.59 - with '331'). Unbound. With Rickman's
highlighting of SNAPE's lines throughout, and with his notes and markings to p. 58.
Rickman's ownership signature to title page, as well as a printed list of 22 draft revisions
dated between 24/09/02 and 16/09/03.

FOLDER 4: GOBLET OF FIRE

-- Working script for Harry Potter and the Goblet of Fire, paginated to p. 120 but containing
many draft revision pages in a variety of colours, each page watermarked with the number
'302'. SNAPE's lines, unusually, not highlighted, but his scenes carry a number of notes and
markings in Rickman's hand. Title page notes six drafts and nine revisions, dated between
14/07/03 and 6/10/04. Unbound.

-- Three sets of script revisions (pink, yellow and green), each secures with a staple to top left
corner.

-- Eight call sheets issued to Rickman between Shooting Days 55 and 98, various pp., each
secured with a staple to top left corner.

FOLDER 5: ORDER OF THE PHOENIX

-- Working script for Harry Potter and the Order of the Phoenix, paginated to p.127 but
containing many draft pages in a variety of colours, each page watermarked with the number
'165'. Rickman's ownership signature to title page, lines of SNAPE highlighted, occasional
notes (e.g. verso of p.90) and markings in Rickman's hand. Printed date '27th March 2006' to
title page, which also lists seven drafts and nine revisions dated between10/11/04 and
29/03/06. Unbound.

-- Cover letter dated December 5th 2005 to Rickman from the film's director David Yates:
'It's a much more political story than the other films thus far, and I'm keen we explore as
much real tension and emotion as we can...'.

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--Screenplay Confidentiality Agreement, 2pp., dated 3/02/06, secured with a staple to top left
corner. Unsigned.

-- Memo to all Unit members, dated 21/11/2005, reminding them of the need for
confidentiality, and urging vigilance when travelling with film-related materials.

-- Two call sheets, for Shooting Days 58 and 66, each secured with a staple to top left corner.

-- Main Shooting Unit Schedule, dated 30th March 2006, detailing a shoot of 137 days
between February and October 2006. Secured with a staple to top left corner.

-- 2 copies of Sc. 80B, featuring SNAPE, one headed 'EDITOR"S SCRIPT RETYPED', 2pp.
each, each secures with staple to top left corner. (Possibly used during post-production: post-
synch, ADL etc.).

FOLDER 6: HALF BLOOD PRINCE

-- Working script (though unmarked) for Harry Potter and the Half Blood Prince. Paginated
to p. 136, though with many draft revision memoranda laid in. Call sheet No. 200 also laid in
to body of script. Unmarked. Unbound.

-- Call sheets Nos. 94 (two copies) and 106, each secured with staple to top left corner.

-- Screenplay Confidentiality Agreement, 2pp., dated 5/09/07, secured with a staple to top left
corner. Unsigned. With s.a.e. for return of SCA. Unused. Memo to all Unit members
attached, reminding them of the need for confidentiality, and urging vigilance when travelling
with film-related materials.

-- Main Unit One-line Schedule, dated 21st February 2008, with Rickman's notes on his
shooting days to top page. 10pp., secured with two staples to top left corner.

-- One-line Schedule, dated 8 September 2009. Cover letter attached, 7pp. in all, the whole
secured with staple to top left corner.

-- 1p. notes in Rickman's hand, headed 'INSIDE SNAPE'S HEAD'. There follow five
numbered thoughts on character and narrative development, and a final observation: 'It is as
if [Director] David Y.[ates] has decided that this is not important in the scheme of things i.e.
teen audience appeal...'.

-- 2pp. list of set visits in 2007, a mix of friends' families (Dusty Hughes, Julian Sands);
digitaries (High Commissioner to Canada and family); RADA charity auction winners; and
families with sick children. Secured with a paper clip to a photocopied diary page noting the
visits.

-- Photocopied production photograph of Rickman in costume.

FOLDER 7: DEATHLY HALLOWS 1 AND 2

PART 1:

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-- Working script for Harry Potter and the Deathly Hallows pt. 1. Paginated to p.129, but
containing many draft revision pages in a variety of colours. Each page watermarked with the
number '165'. SNAPE's lines highlighted throughout, and with Rickman's notes, markings
and amendments throughout. Unbound. Title page dated 24 August 2009, and listing four
drafts, a shooting script, and three revisions.

-- A second copy, title page dated 22 January 2010. Draft revisions laid in. Unmarked.
Secured with tagged tie through punch holes to left edge.

-- Title page dated 13 March 2009 and six loose pp. of draft revisions.

PART 2:

-- Working script, 140 pp. Title page dated 9th September 2009, and listing four drafts.
SNAPE's lines highlighted throughout, the scenes bearing Rickman's sometimes extensive
notes, markings and amendments. Secured with tagged toe through punch holes to left edge.

-- 8pp. interim revisions with cover letter dated 18 March 2010, all secured with staple to top
left corner.

CORRESPONDENCE FOLDER

Collection of correspondence, cards, drawings and ephemera related to Rickman's

participation in the Harry Potter series, including:

-- Producer David Heyman's initial letter to Rickman, dated 26th July 2000, sending him the
script for *Harry Potter and the Philosopher's Stone* and asking him to consider the role of
SNAPE.

-- Invitations and tickets to various *Harry Potter* premieres, parties, celebratory suppers etc.

-- Printed *Harry Potter and the Chamber of Secrets* stationery, signed by all leading cast
members.

-- Production paper props, among them an envelope addresses to Mr. H. Potter, The
Cupboard under the Stairs, 4, Privet Drive, Little Whinging, Surrey; 4pp. of incantations,
Secrets of Alchemy, Celestial Medicines etc.

-- Thank you postcard from David Heyman for '...making HP2 a success. I know, at times,
you are frustrated, but please know that you are an integral part of the films. And you are
brilliant.'

-- 2006 Christmas card from JK Rowling: 'Just completed *the* Snape chapter. It is so very
strange, finishing...'.

-- Dummies of theatre campaign literature for Rickman's approval.

-- Action figure prototypes, for Rickman's approval.

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-- A small quantity of thank you letters and cards, some from children who have visited the
set or attended a premiere, others from cast or crew members -- including Daniel Radcliffe:
'To Alan, Thank you for all of my presents, I can't wait to read 'Catcher in the Rye'...'

-- Loose pp. of handwritten notes, memories from the *Harry Potter* sets.

-- Postcard from JK Rowling, on her personalised stationery: 'Just back from weeks away and
had to send a line about what you wrote in the souvenir programme for Hallows II. Made me
very tearful. Thank *you* for doing justice to my most complex character...'

-- Final call sheet, with 'The Last Day' in Rickman's hand to top right.

BOX 9:

The Winter Guest :

Three large photos of AR directing stage play

Three colour photos of AR directing film

Album of photographs by Clive Coote during filming

Loose photographs by Neil Davidson during filming

Lots of informal shots on location, and loose Clive Coote photos

Screenplay by Sharman Macdonald and Alan Rickman:

Third draft – Scriptored 6/9/96, revised pink pages [7, 9, and 12/10/96] and revised
green page 26/11/96 inserted. With AR’s extensive notes, directions, additions, deletions,

Third draft 17/9/96. 137 pp. In black leather binder

Winter Guest clapperboard 6/12/96

Sharman and Rickman. The Winter Guest. Faber 1998. Filmscript, includes list of cast and
crew, Clive Coote photos of film and filming. 2 copies, one with Faber compliments slip laid
in

Folder of letters, cards, telegrams from playwright, cast, crew, critics, friends, fans including

Phyllida Law: ‘Listen pumpkin, what can I say to you right bow but go & Dance in
the Sun, you fucking deserve it. It has been THE MOST wonderful rehearsalling EVER in
the whole of my puff. You have been kind (you won’t be told will you) generous &
breathtakingly perspicacious & I hope to hang on to your gifts, for such they are my darling’
and other cards and letters [possibly worth quoting/illustrating]

Sian Thomas: ‘…I have loved working with you so much, I feel as if my soul just
takes wings when you direct me and the sky and ocean are the limit…’

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 Emma Thompson. Praising the stage production ‘so very different from most things I
see. Very female, cyclical, circles, absolutely how we see & think. I love it … Also – I am
thrilled & excited Beyond Measure to be working with you myself, a long-term ambition and
the best news I’ve had all year. Can’t wait to fling on a mob-cap and tart about Devon with
you … THANK YOU for saying yes and fulfilling my dream of Colonel Brandon

and Jude Kelly, Sheila Reid, Sandra Voe, Blanche Marvin, Oliver Ford Davies and Jenny
Armitage, Simon Callow (‘At Heathrow – off to Texas’)

Rachel Corrie: large notebook of photographs annotated (and taken?) by AR of Rachel’s

home, school, community, woodland.

BOX 10: Wrap presents and photo albums

BOX 11: Theatre

BOX 12: AR’s own films on DVD

BOX 13: Theatre Photographs

Formal and informal photographs and related ephemera including AR at

RADA: c. 120 photographs (not all including AR), programmes, reviews, 2 pen and wash
drawings for scenery

[From review of Measure for Measure: ‘Angelo was acted with distinction by Alan
Rickman. This Lord Deputy looked more distinguished than the Duke. Garbed in black he
was an arresting figure and in a gorgeous red robe of justice a picturesque one, until he
donned a wig …’]

Private Lives, New York: album of informal snapshots of cast, relaxing and at play, pools,
beaches, bowling

Grass Widow, Bad Language, Pity in History, Stratford, Brothers K, Hamlet (Sturua): album
of informal snapshots including various casts in rehearsal, performing, relaxing, punting,
rowing, partying, dining, in Russia. The album is rich in photographs of other actors,
directors and writers early in their careers.

Liaisons, New York: album of snapshots of cast, director, author in rehearsal, relaxing, sight-
seeing, in the countryside, dancing, on beaches, in pools, and generally at play. AR self-
portrait in dressing room, clad in briefs

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Barchester Chronicles, July – September 1982, and Other Worlds (March 1983): album of
snapshots of cast rehearsing, on set and on location, playing chess, relaxing; Other Worlds
cast and crew on North Yorkshire coast

Miscellaneous: album of snapshots, formal shots and RSC postcards from productions
including As You Like It, Troilus and Cressida, Les Liaisons, Tango at the End of Winter,
Hamlet, The Grass Widow (including cards from Tracey Ullman, Ron Cook and Leslee
Udwin, note from Snoo Wilson, photo (of AR) with message from Max Stafford-Clark and
Christmas card.

BOX 14: AR’s own films on VHS

BOX 15: Costumes/crew t-shirts.

BOX 16:

Royal Court: Photographs (many dozen) of a young Rickman in roles at the Royal Court

Creditors by August Strindberg, a new version by David Greig. Directed by Alan Rickman at
Donmar Warehouse (2008) and at BAM. Marked script, corrected second draft (1 March
2008) with AR notes, third draft (28 August 2008) with AR markings and instructions. Seven
notebooks with AR notes and sketches from rehearsals and performances. Rehersal notes,
programmes, press material, photographs, AR’s original drawings for stage sets with
interpretive notes (A Room in a Corset: shuttered, laced, fastened, locked …), research notes
and articles, letters and cards from Lia Williams (would he consider her for Creditors),
Michael Grandage, Phyllida Law, David Hare, Edna O’Brien, Ken Cranham, Paola
Dionisotti, Simon Callow, Ruby Wax, Lindsay Duncan, Anna Chancellor, Tom Burke, Owen
Teale and other members of the cast and crew, fans, and many more.

John Gabriel Borkman by Henrik Ibsen, a new version by Frank McGuinness. Produced at
Abbey Theatre and (in America) at BAM in 2011. Rehearsal script with AR highlighting,
underlinings, markings and notes to himself for his role as Borkman. Printed copy for Abbey
Theatre production with AR underlinings and notes. With AR original sketches of stage,
notes from a telephone conversation ‘with Toby’ about banking and bank failures. Spiral
notebook of contact details, holograph notes and analysis of Borkman’s character and
motivation. Research notes. Cards and letters from co-stars Fiona Shaw (several) and
Lindsay Duncan (several), director James Macdonald, Frank McGuinness, other members of
the cast and crew, friends including Helena Kennedy, the artist Duncan MacAskill, and fans.

The Ground Beneath Her Feet: a staged performance for orchestra, singers and narrator
(2006). Music by Victoria Borisova-Ollas, libretto by Edward Kemp. From novel by Salman
Rushdie. Performed at Manchester International Festival, 2007, with AR as narrator. Piano

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vocal score signed by composer, conductor, and others. Revised version June 2007 with AR
underlinings, highlighting, notes.

Bound notebook with AR holograph notes on his work, his awards, notes to himself, names
and phone numbers

Family photographs

BOX 17: My Name is Rachel Corrie

BOX 18: Books

Love Actually companion volume signed by AR, Bill Nighy, Hugh Grant and others

The Voice Book inscribed to AR; Relax; Voice and Speech in the Theatre (AR’s sig);
Linklater, Kristin, Freeing the Natural Voice (inscribed to someone else, with a postcard from
KL to AR laid in sending and recommending he look at pp. 63-81 re soft palate and tongue);
Singing on Stage: an Actor’s Guide (inscribed to AR by the authors)

Fallen Angels including Murder Obliquely

Crane, Richard. Gunslinger. Inscribed to AR (‘Many thanks for creating Black Moon!’).
First produced at Phoenix Theatre Leicester with AR as Chief Black Moon/Little Thunder/
Rancher

Macdonald, Sharman: Plays 1 inscribed to AR. Volume includes The Winter Guest

Bainbridge, Beryl. An Awfully Big Adventure (pbk) with references to P. L. O’Hara (role AR
played in film) highlighted

Rosen, Michael. Backbone. Two copies, both annotated, one for part of Tania, the other (by
AR?) for Malcolm. Play produced at the Royal Court after winning student award but AR
not in original cast

Bowen, John. After the Rain. With AR’s name and address, sketch of set on front free
endpaper, underlinings and notes throughout text

Jonson, Ben. The Alchemist. With AR name, underlinings and markings for Sir Epicure
Mammon, some deletions to text and other passages stapled in

Williams, Emlyn. Night Must Fall. With AR’s name, underlinings and instructions to self
(see esp p. 102) for Dan (for Brook Green Players production?)

Behan, Brendan. The Hostage. With AR’s name, underlinings and notes for Soldier

Beckett, Samuel. Stirrings Still. Inscribed to AR by Bettine (Jonic) and carefully marked up
and prepared for a reading (perhaps at Reading Room).

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Corlett, William. Now & Then. A card with AR notes (not necessarily related to the book)
laid in

Dukore, Bernard. Barnestorm: the Plays of Peter Barnes. Inscribed to AR from PB ’96: ‘Al,
we mustn’t let the bastards get us down’

Wood, Victoria. 3 vols

Suskind, Patrick. Perfume (pbk) inscribed ‘For Alan Rickman’ and signed and dated by
author (2005).

BOX 19: Riverside, Coronet and anthologies

BOX 20: In My Own Words

Speeches and readings prepared or given by AR including

[PINTER] A Pause for Pinter: Readings from HP’s writings on the occasion of the English
PEN Dinner (2007) AR highlighted, underlined and stressed script for his sections

Harold Pinter: a Celebration (National Theatre 7 June 2009) [AR, Lindsay Duncan, and Gina
McKee performing from Old Times. Script, programme, ticket

[MASSEY, Anna]. Large black notebook with 70 pages of working notes and drafts for his
long eulogy delivered at Anna Massey’s funeral. Signed and dated 15 July 2011. AR quotes
from Massey’s autobiography and includes his own memories of working with her. [Stephen
Fry tweeted (15 July 2011): ‘Just returned from Anna Massey’s funeral. Exemplary eulogy
by Alan Rickman’]

[McKEOWN, Geraldine] Programme for Geraldine McKeown’s memorial service with AR’s
6 page holograph tribute quoting Leonard Cohen’s How to Speak Poetry and with his own
thoughts and memories – moving, generous

[COHEN, Leonard]. The Glenn Gould Prize Gala, 2012, Celebrating the Ninth Laureate,
Leonard Cohen. AR was one of the guest speakers. Holograph draft and final copy of his
remarks incorporating lyrics to Cohen’s Going Home with AR markings for reading. With
programme, ticket

[LATYMER] Black notebook with holograph draft of his speech at Latymer prize giving,
2007. 23 numbered pages of holograph text with additions and alterations, underlinings.
With a card of notes for the talk and correspondence, two letters from the Headmaster, a letter
of thanks from a parent.

LABOUR Party youth Gala evening, AR as surprise special guest to introduce Gordon
Brown and the Leader with AR notes

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OUT OF JOINT Letters from Max SC and copy of AR letter to Arts Council in support of
OofJ

Evening Standard Drama Awards 1993. AR typescript notes on two cards, with holograph
additions and alterations, presenting Best Actress award to Fiona Shaw for Machinal. With a

[BAUSCH, Pina] Holograph tribute to the dancer Pina Bausch on 8 personal notecards; with
2005 programme from Sadler’s Wells including a quote from AR

[One World Action] Holograph text of AR address (8 notecards) for 1992 event organised by
Rickman and Juliet Stevenson; with invitation

ARK, nos. 45 (Winter 1969) and 46 (Spring 1970) on The New Avant Garde. Published by
the Royal College of Art. AR was copy editor of both issues, contributed story ‘Child’s Play’
to no. 46.

[War Child charity]. Big Night Out 3. Penguin Books, 2002. Collection of stories by writers
and celebrities to support the work of the charity. Alan Rickman provided two illustrations
for Beatie Edney’s ‘Don’t let your daughter see you on the stage, Mrs Ferry’. With
Rickman’s original pen and ink illustrations for the volume.

Fashion Acts Auction, 2002. Limited edition catalogue of photographs taken by fashion
designers, actors, musicians and others. AR’s original photograph (showing back of the
album cover of Tom Waits’ Blood Money) and 30 negatives including the selected
photograph.

WILLIS, Bruce. The 2000 Moving Picture Ball Honoring Bruce Willis, sponsored by
American Cinematheque. Alan Rickman was the host. Working programme for the evening
with schedule rundown, list of contacts, cast list, and script with AR holograph deletions and
alterations. Separate page of Opening Talk with significant deletions and heavily revised by
AR and text pasted on 10 cards with AR holograph alterations.

GALLIANO, Joseph. Dear Me [German edition, 2013] with contribution by AR

[Lake Como Conv.] Holograph working draft (in Carlton Cinema notebook) of talk about
himself and his career, 15 pp, in black ring binder

BOX 21:

Address books, appointment and calling cards

Wooden box containing makeup

BOX 22:

Photographs, publicity and others

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Prince of Thieves: publicity shot (13 copies) and on various set shots in file folder (12)

Galaxy Quest: Dream Works publicity shot (13 copies)

Rasputin: portrait (14 copies), 8 portraits in file folder (5 with Greta S)

Mesmer: portrait, in cravat (20+ copies); numerous on set, formal and informal, snapshots,
cast; AR on horseback; 31portrait contact sheets and large blow-ups, b&w and colour; 4
photographs by Snowdon, signed; publicity folder

Sense and Sensibility: portrait (Clive Coote photo, 27 copies), Columbia publicity shot, in
hat

Dogma: 3 different portraits

Judas Kiss: portrait

Michael Collins: portrait

Truly, Madly, Deeply: file folder of b&w (BBC) and colour photographs, AR/JS/Michael
Maloney/rest of cast publicity, in rehearsal, on stage

Quigley Down Under: MGM publicity photos (6, and 1 of Tom Selleck) and 3 informal

Closetland: photographs of set

Personal photographs of Richman with colleagues, friends and others

BOX 23: A Little Chaos (2015)

Deegan, Alison. Four Seasons. Screenplay, second draft. Revised May/July/

November 2002. 120 pp.

Deegan, Alison. A Little Chaos. Screenplay, second draft. Revised May/July/

November 2002. Checked through September 2004. Additional material January 2009. 114
pp. with AR markings, annotations and queries. Correspondence and faxes from 2010 laid in.

Deegan, Alison. A Little Chaos. Screenplay. December 2010. Heavily revised, with
markings, deletions, additions and alterations, commentary.

Deegan, Alison. A Little Chaos. Screenplay. December 2010. AR highlighting of Le

Notre role. Notes on potential casting.

Deegan, Alison. A Little Chaos. Screenplay Draft 19 April 2011. AR revisions,

deletions.

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 A Little Chaos. Screenplay by Alison Deegan. Revisions by Jeremy Brock. February
2012. AR’s notes, annotations, suggestions, thoughts on text.

A Little Chaos. Screenplay by Alison Deegan. Revisions by Jeremy Brock and Alan
Rickman. 14 November 2012. With AR revisions and deletions.

A Little Chaos. Screenplay by Alison Deegan, Revisions by Jeremy Brock and Alan
Rickman. Shooting script 26 March 2013. Revised pages 4 April, 9 April, 16 April. AR
[director]’s heavily annotated and revised script with his storyboard sketches, alterations,
instructions. Two sketches by AR of garden scenes laid in.

AR notebook about the production, editing, screenings. Design for caps to be made
for cast and crew with fleur-de-lys with instructions. Notes for screening thanking writer,
cast and crew [‘Anybody hoping for a biopic should leave now. This film is an act of
historical vandalism. It is innacurate and implausible. And deliberately so. I do hope you
enjoy it.’

Large file and notebook of script notes, call sheets, notes on casting, storyboard

Technical and storybook recce packs, shooting schedule, call sheets

Research material including guides to Versailles, books on gardens

Cards from cast, crew and friends including Kate Winslet (to Dearest Al with thanks
‘for your guidance. Your wisdom. Your skill. Your gentleness is all things, and with everyone.
Your patience … is something else … I loved every second’), Patti ([Lupone] writing about
visiting the set ‘to watch you and Kate film that magical and very important scene’ and her
response to the showing of the whole film and Kate’s ‘heartbreaking performance’), Carolina
Valdes (thanks ‘for letting me share the Royal bed with you. As a Queen, no less …), Peter
Gregson (composed the score), Ray Cooper, Adrian Scarborough, Phyllida Law (having read
the script: ‘It’s the work force you will cast … with great faces - bland & pretty. Lovely
women’s parts! Of course I want to be Suzanne …’ and pointing out a line too clearly
translated from the French), Emma Thompson ( ‘… why aren’t I in it? …’),

BOX 24: Film photos

BOX 25: Film articles and interviews

BOX 26: ‘In Loving Memory / Friends and Family’

Funeral and memorial service programmes, cards and letters, for friends and family including
Jean Anderson (AR reading and his holograph tribute), Richard Attenborough (letter from
Michael Attenborough), Gillian Barge (AR reading, 3 pp. letter from Gillian when ill), Peter
Barnes (AR reminiscence, with copy and notes from others), Alan Bates, Maria Björnson

15
(AR reading), Peter Blythe (AR reading, with AR draft letter), Stuart Burge, Katrin Cartlidge,
Ian Charleson, Hugh Crutwell (AR holograph reminiscences, letters from Hugh and his wife
Geraldine McEwan, photograph with AR, ), John Diamond, Kevin Ronald Lee (Elyot), Maria
Fedro (RADA teacher, with holograph card of AR reminiscence), Susan Fleetwood, Sheila
Gish (AR tribute and his holograph notes), Simon Gray, Richard Griffiths (retained copy of
AR letter to Heather Griffiths, and her reply),

Alan Haywood (with AR notes to be read), Georgina Henry (AR reading), Harold Innocent
(AR reading, and holograph additional remarks; postcard from Harold), Leigh Jackson (AR
reading, and holograph notes), Darlene Johnson, Michael Kamen (composer, AR 3 pp
holograph tribute, photography of Kamen and his family), Miriam Karlin (AR reading,
written out and highlighted in his hand), June Kemp (RADA movement and dance teacher),
Paul Marcus (email exchanges with family and various friends), Anna Massey (AR eulogy
(see Box 20), Rik Mayall (AR reading, Corinthians 13 with his markings), Michael
McCallion, Mary McGowan (with 16 letters and cards from Mary), Geraldine McKeown
[McEwan] (see also Box 20), Anthony Minghella (thanksgiving service and memorial
service, AR reading with Juliet Stevenson, notes, photographs of Minghella, letters from his
family), John Mortimer (memorial service, and memorial evening at the Royal Court with AR
reading and performing), Gerard Murphy,

Ruth Newton (art school friend, page of holograph memories), Roger Lloyd Pack (Kenneth
Cranham letter and notes for funeral), Alan Plater, Natasha Richardson (private funeral and
Studio 54 memorial, AR holograph notes for tribute), Margaret Doreen Rose Rickman (AR’s
mother, died 1997, with many letters of sympathy from family, her friends, and from Emma
Thompson, Thelma Holt and many others), Ray Roberts (with AR holograph letter and
tribute), Mark Shivas (AR holograph tribute), Snoo Wilson (AR did one of the readings),
Irene Worth (AR speaker), Hugo Young

Also filed here a sketchbook with a child’s drawings (AR?)

BOX 27:

Travel material for Alaska, St Petersburg

Plastic box of Harry Potter stills (multiple copies of some)

OSCARS DVDs

Box of Fantasma Magic with sponge balls

Psion organiser, discs and manual (content?)

Towel, rubber fingers, crystals

Russian theatre file (1981)

Box of make-up, brushes, etc for Private Lives

16
NO BOXES 28 OR 29

BOX 30: Photographs

[File box:] Photographs of AR at various ages including young AR camping/travelling with a

group of friends, stills from Love, Actually, AR at a wedding, in the pulpit, giving a reading,
on tv with Emma Thompson and Phyllida Law, with Rima in various locations, pictures of
Peter Barnes children and other peoples’ babies and children, several dozen informal photos,
at parties, on location

[File box:] Photographs, largely professional and some in multiple copies, AR Rides Again
postcards (packet)

[File box:] Photographs of AR and others sent to him by friends, drawings and cards from
children (of friends), cards and letters from Em[ma Thompson], Phyllida Law (‘Fifi’), Greg
Wise, Richard Rogers, Harriet Walter, Trinny Woodall, Richard Eyre, Zoe Wanamaker (and
Gawn), Simon Cowell, Eileen, Ian McKellen, Edna, Victoria Wood and others

[File box:] Musical scores and a tape; 2 photos with 2 pp of voice exercise instructions

BOX 31: Scripts

[File box Peter Barnes including:]

‘The Preacher’ typescript of the third of four monologues that formed Revolutionary
Witness, here called ‘Faces from the Fire’. 9 pp. Heavily marked and annotated by AR with
deletions and alterations to the text and a full page of his notes on title. With rehearsal script,
numerous deletions, 23 pp.

Revolutionary Witness & Nobody Here but Us Chickens (pbk with pc inserted from
Anne Garwood sending her ‘early copy of the text as a memento of a sublime performance’)

The Spirit of Man. Roneo rehearsal script of screenplay part 2 (of 3), ‘From Sleep
and Shadow’ [original Sorrow changed here to Shadow], pp. 27-52. With AR notes and
annotations, numerous deletions to text. Recorded by BBC 2 in June 1989.

More a Touch of Zen. Photocopy of a 9 pp. typescript

Don Juan and Faust. By Christian Dietrich Grabbe [1864] adapted by Peter Barnes.
Photocopy typescript with Margaret Ramsay Ltd label. 51 pp.

The Real Long John Silver. Photocopy typescript, 9 pp.

Nobody Here but us Chickens. Photocopy typescript, 7 pp., with a few alterations
and deletions. Text differs in places from the published version.

White. Photocopy of typescript, 3 pp.

17
 Not as Bad as they Seem. Photocopy of typescript, 11 pp.

Actors, or Playing for Real. Adapted by Barnes from work of Lope de Vega.
Broadcast script, 103 pp., recorded in March 1983 with AR as Carinus.

The Dutch Courtesan. Roneo typescript with AR’s annotations and underlinings (as
Cocledemoy), 75pp. For Radio 3, 1983.

The Old Law. Photocopy typescript, from Margaret Ramsay Ltd., 64pp.

Woman of Paris by Henri Becque. Adapted by Barnes. Photocopy typescript from

Margaret Ramsay Ltd., 41 pp.

Photocopies of holograph scores of songs by Peter Barnes and Stephen Deutsch

[File box:]

Barker, Howard. Pity in History. Rehearsal script, 82 pp, and Amended Rehearsal
Script with AR markings, 92 pp. and 3 pp. of additional or replacement text. Together with
cast lists, rehearsal and recording schedules and related material. Produced for BBC 2
Playhouse, 1984.

Frayn, Michael. Benefactors. Script for 1989 BBC recording with AR as Colin, 155
pp. with an inlaid page of altered text. AR signature on front, his markings and underlinings,
notes to himself. On p. 130 verso he has written out some of the altered text. Two cards laid
in one signed ‘For Col, Love Sheel’. Harriet Walter played Sheila to Rickman’s Colin.

[File box:]

Barnes, Peter. The Devil is an Ass by Ben Jonson. Adapted by Peter Barnes.
(Birmingham Rep, 1977). Working script (AR playing Wittipol) signed by AR with his
holograph deletions and additions to text and notes on plot and performance.

Brecht, Bertold. A Man’s a Man. Adapted by Eric Bentley. AR’s working script,
signed, with his underlinings, notes, and with textual alterations. AR played Uriah.

Poliakoff, Stephen. The Summer Party. Photocopy typescript from Margaret Ramsay
Ltd., with underlinings and notes, many textual alterations in AR’s hand. (Sheffield, Crucible
Theatre, 1980).

Davis, Stephen. The Last Elephant. Davis’s debut stage play. Photocopy typescript,
c. 85 pp. with AR’s notes on his character Edward Rumsey [‘an obsessive’ ‘a chauvinist’ ‘He
lectures at a university’], underlinings, deletions, additional dialogue in his hand. (Bush
Theatre, 1980)

18
 Hughes, Dusty. Commitments. (Bush Theatre, 1980, AR as Hugh). Working script
with AR notes in script and laid in, analysis of his character, annotations, 93 pp. plus
additional inserts. There are various notes by AR on his costumes for different scenes.
Directed by Richard Wilson, and with George Irving and Paola Dionisotti. [Put in
Richard Wilson quote].

[Box file:]

French, Dawn, Jennifer Saunders and Ruby Wax. Girls on Top. Rehearsal scripts for
episodes 1 and 3 and loose sheets from 4 and 5. With location and production papers.

Davis, Stephen. Busted. Working shooting script (Play for Today). With separate
sheets of AR notes and some correspondence.

Wood, Victoria. Victoria Wood as Seen on TV. Revised studio script for Show 5
(1984).

Wood, Victoria. Victoria Wood Christmas Special 2000. Shooting script, 128 pp.AR
appears in ‘Plots and Proposals’ section as Captain Fallon. The script in places differs from
the final production.

The Late Show: ‘Seven Daily Sins’ (1988). Read through script with AR notes and
shooting script.

Wax, Ruby. Live Wax. Script, 47 pp., with numerous deletions, plus several scripts
of additional ‘What is your problem?’

[Box file:]

Hardy, Thomas. The Return of the Native. Working copy, with AR annotations, for
his 1984 audiobook recording.

Yates, Dornford. Blind Corner. Working copy for AR’s Cover to Cover audiobook
recording.

[Box file :]

Coward, Noel. Private Lives [in printed Collected Plays: Two]. With a full page of
AR notes on Elyot, the character he plays, the text highlighted and marked. In Bittersweet he
has also highlighted the refrain from Coward’s song ‘If Love Were All’. Contact sheets laid
in and a letter from costume designer Jenny Beavan. With a second playtext of Private
Lives marked and annotated by AR. On the rear endleaves he has written out the lyrics of
several Coward songs.

19
 Minghella, Anthony. Truly, Madly, Deeply. Playtext; to the printed dedication ‘For
Juliet Stevenson’ Minghella has added: and the fab Alan Rickman with love and thanks,
Anthony April 91’. AR’s signed bookplate pasted in. Laid in in a card from Minghella
thanking AR for his support for the project ‘before, during and after it. And for a wonderful
performance.’ Three invitations to the 34th Film Festival viewing of the film, then titled
‘Cello’ are laid in together with an invitation to AR and guest for a special screening of the
film under its later title.

Hampton, Christopher. Les Liaisons Dangereuses. Playtext inscribed to AR by

Christopher Hampton. With a further playtext and a group of letters [list or photograph
some] about his performance, and dismay that he was not nominated for a SWET award.

Poliakoff, Stephen. The Summer Party. Methuen theatrescript (Sheffield Crucible

Theatre, 1980).

Poliakoff, Stephen. Close my Eyes. Methuen Drama screenplay includes stills from
the film.

Behn, Aphra. The Lucky Chance, edited by Fidelis Morgan. The Royal Court
Writers Series. With cast list laid in, and photocopies of reviews:

Irving Wardle in The Times: ‘As played by Alan Rickman in the likeness of a
debauched El Greco, he is by far the most interesting figure in the comedy. A satanic wastrel,
bereft of everything but a body that women find irresistible, eking out a wretched life above a
blacksmith’s shop, and forcing himself to pay court to his landlady to regain his best suit
from the pawnshop.’

BOX 32

[File box: Private Lives, London, New York]

Cast contact sheets, photographs, programmes (one copy with AR holograph alterations),
flyers, press night tickets, 2002 Tony Awards programme,

A large number of cards and letters from family, friends, fans including Tina Brown, Simon
Callow, Niamh Cusack, Lindsay Duncan (several; ‘How lucky can a girl get? My heart is in
your hands ‘on’ and ‘off’ You’re wonderful’), Emma Fielding, Adam Godley, Thelma Holt,
Nicole Kidman, Phyllida Law (‘New York will go mad … I am aware that you are already a
sex symbol but this’ll make you a danger in the streets …’), Michael Rudman, Miriam, David
Hare (Your Elyot is wonderful, though not even you can psychically convey what one earth
he does for a living. Tax inspector? Airline pilot? Who knows?), Peter Mandelson, Daniel
Radcliffe (‘You were fantastic in the Play. See you Next year. Merry Xmas), Clive Swift
(‘… tremendous, dedicated, superlative, magical playing …’), Lynda La Plante, Sianie,
Bettina,

20
[File box: Barchester Chronicles]

Shooting script, episodes 3-7 [together 538 pp.] with AR notes, instructions, deletions and
alterations to text, some revised pages; cast and crew list

[File box: programmes]

Programmes for AR performances including RADA plays, Stanhope Theatre Court Drama
Group and Experimental Theatre Group (Major Barbara, The Rehearsal, The Hostage, The
Long and the Short and the Tall, Heimskringla or the Stoned Angels), Little Theatre
(Occupations), Birmingham Rep/Edinburgh Festival (Measure for Measure, The Devil is an
Ass), Manchester Library Theatre Company (Lock up you Daughters, There’s a Girl in my
Soup, Saint Joan, A View from the Bridge, Babes in the Wood), RSC in Newcastle (Love’s
Labour’s Lost), Lyric Studio (The Devil Himself), Crucible Theatre Sheffield (The Summer
Party, Nijinsky, As You Like It, When we Dead Awaken), Bristol Old Vic (A Man’s a Man;
Hamlet; Dick Whittington), Haymarket Leicester (Romeo & Juliet, The Antique Baby, Babes
in the Wood), Phoenix Theatre Leicester (Gunslinger), Oxford Playhouse (The Philadelphia
Story), Brighton Theatre (Brothers Karamazov), Bush Theatre (The Last Elephant), Royal
Court (The Seagull, Other Worlds [AR assistant director], Royal Festival Hall, Philharmonia
Orchestra (Stravinsky, Oedipus Rex [AR as narrator]), Ambassadors Theatre (Les Liaisons
Dangereuses), Lyric Hammersmith (The Peace of Brest, directed by Robert Sturua, with AR
doing live simultaneous translation), RSC Stratford (Troilus and Cressida, As You Like It,
Love’s Labour’s Lost, Anthony and Cleopatra, The Tempest) and for some plays in which he
did not appear

BOX 33

DIE HARD:

TWO SCRIPTS:

a) NOTHING LASTS FOREVER.

First draft mimeographed screenplay of DIE HARD, bearing the title of the book by Roderick
Thorp on which the film was based. 123 pp., secured with two split pins to left edge. Dated
24 June 1987. Title inked to spine. Slight browning to title page.

Laid in is a compliments slip from the office of producer and actors' agent Joan Hyler, who at
that time was representing Rickman in the US out of the William Morris agency. On it is
written, in Rickman's hand: 'p. 17-18-19. p. 113-117, 18. FRIDAY.' These page references
correspond to scenes featuring the character of HANS, Rickman's character in DIE HARD.
It's reasonable to assume that this is the script sent to Rickman ahead of his audition for the
role, and from which he prepared scenes for the audition which got him the part.

b) DIE HARD.

21
Mimeographed production script dated 2 October 1987, 112 pp., stiff paper wrappers, the
front wrapper bearing the title. Pages in a variety of colours as a result of rewrites and
amendments made during production, secured by two split pins to left edge. Wrappers and
internal title page detached from text block.

ALAN RICKMAN'S WORKING SCRIPT FOR DIE HARD, WITH HIS SIGNATURE TO
FRONT WRAPPER, AND HIS EXTENSIVE HIGHLIGHTINGS, REVISIONS AND
NOTES THROUGHOUT. The verso of the front wrapper carries Rickman's character's script
breakdown, scene by scene (a regular feature of his working process), with each scene
deleted, presumably as they were completed.

Also laid in are three Filofax pages containing notes made by Rickman, mostly tweaked
dialogue from Hans's scenes with the character Takagi, and from his first encounter with the
party guests in the tower. In addition, there is a photocopied document headed
PRODUCTION REQUIREMENTS, a photocopied surveillance-style photograph of
TAKAGI taken on a long lens, and a single page fax from writer Steve de Souza with one
line of dialogue for Hans:

HANS (looking round) And when Alexander saw the breadth of his domain, he wept. For
there were no more worlds to conquer. (looking at TAKAGI with a shrug) The benefits of a
classical education.

2. Crew list for DIE HARD, 2pp., staple to top left corner. Dated 19 October 1987.

Issued for internal circulation by Twentieth Century Fox, with contact details for every crew
member except director, writer and producers.

3. Cast list for DIE HARD, 14 pp. secured by staple to top left corner, issued 3 November
1987. Containing contact details for the whole cast.

4. 12 loose yellow pp., dated 27 January 1988, issued for insertion into script. First page
identifies this as 'Second Revised Draft Dated, October 2, 1987' and further reads: 'TO ALL
CONCERNED: Please discard old pages and insert the attached REVISED PAGES in their
proper place in your script of the above date. THIS IS IMPORTANT!'. Since shooting was
over by this date [double check this], the insertion of these pages may have been made
necessary as a result of a writer's representatives' insistence, as legal proof of his/her
contribution to the film.

5. Rickman's invitation and ticket to the Gala Preview of DIE HARD, held at the Empire
Cinema, Leicester Square, on 29 January 1988.

6. Two press packs for the film, containing cast lists, production information, and production
photographs.

A third press pack folder is present, but empty.

22
Truly Madly Deeply by Anthony Minghella (originally entitled Cello). Script December
1989 (unmarked); rehearsal script in ring binder (December 1989) with list of cast and crew,
rehearsal and filming schedule, AR’s role of Jamie highlighted, deletions and alterations,
revised pages laid in, notes on cello fingering for Bach, Brandenburg, Walker Bros and
others. Card of thanks from Anthony Minghella, polaroid photographs of Rickman, Juliet
Stevenson and others.

Prince of Thieves. Acting script (pp. 1-131) with AR highlighting and annotations; acting
script (24 August 1990), 131 pp. with additions laid in, AR notes, underlinings, annotations

Galaxy Quest. Working script, crew list, cards

Blow Dry (originally Never Better) by Simon Beaufoy. Working script, rehearsal schedule,
unit list

Sweeny Todd

Dogma

Clerks (animated)

BOX 34

Working scripts and papers for Bob Roberts, Sense and Sensibility, Love Actually and others.

BOX 35

Les Liaisons Dangereuses

Working script, 92pp. with a page of AR notes and some in text

Working script rehearsal draft, 92pp. with AR underlinings, notes, deletions, in paper
folder with additional notes

Programmes (London and New York)

Letters to/from Genista McIntosh about his concerns re transfer to the West End and a
proscenium stage; letters and cards from Lindsay

Bainbridge, Beryl. An Awfully Big Adventure

Screenplay by Charles Wood, with AR’s scene listings and notes on schedule,
highlighting, cards and letters from Mike Newell (Director, giving him ‘some background to
the casting history), Emma Thompson (‘…Your performance was touching, sexy, and
moving’), Fiona Shaw, Robert O’Mahoney, cast sheet

23
Poliakoff, Stephen. “Close My Eyes”.

Letter from Poliakoff: ‘Here is my latest film script, I am directing it as well … I hope
you like it. I would love you to play Sinclair …’. Final draft screenplay with AR notes on
his character and plot, scene listings

Potter, Dennis. Mesmer (1994)

Final draft of original screenplay (April 5 1993, revised August 12) highlighted by AR
and with his deletions, alterations to text, revised dialogue in his hand, queries, instructions
and notes to self. Large number of scenes omitted in August revises. Suggestions about
further changes that might be made, scenes that are not working.

Order of shooting, cast list, unit list with AR annotations, call sheet with notes,
invitation to screening ‘of selected assembled footage’,

Letters and cards from Roger Spottiswood (‘We are progressing slowly, but well.
Since so many big scenes were shot late, we still do not have it all together. But we will –
soon!’), David Burke (3 full pages about making the film: ‘Did it really happen? That week
of night filming in an ancient Austrian castle, us in our 18th century bubble of candle-light,
while outside the mist crept about in the dark. As night succeeded night and everyone
became paler and paler with fatigue, I found my sense of everyday reality floating away’),
Ian Scorer of Mayfair Entertainment (‘I am sure we are all equally relieved that the weeks of
uncertainty over the production funding are now behind us. I know this has been an
excruciating time for you …’ with AR’s holograph reply), Amanda Ooms (who played Marie
Therese, pouring out her feelings and frustrations about working with AR, 5 pp), Gabrielle
Scharnitzky, various members of cast and Hungarian crew

Correspondence relating to the litigation between Mayfair and Film Finances

including a letter wanting AR’s working script as evidence; copy of AR’s witness
statement*** important and illuminating statement about how he views the role of the actor,
the filmscript as guideline or map, actors responsibility to interpret, what works and what
doesn’t

Memorial service for Dennis Potter 1 November 1994: Order of Service, with AR
reading an extract from Mesmer and text in his hand

Adams, Douglas. Hitchhikers Guide to the Galaxy. Working shooting script incorporating
seven different sets of revision. Marvin’s part highlighted and with holograph alterations.
Cast list; log sheet with alterations.

Binder, Mike. The Search for John Gissing (directed by Binder). Shooting script Revised
Draft 2 (1/7/00) with 26 pp of further revisions. Textual deletions and additions, portions of
text written out by AR. Highlighted with notes on character and action.

24
 Letter asking AR to consider part of Gissing, Gwyenth on offer to Juliet Stevenson.
Would be required for 5 weeks, offered £60,000. Photo of cast and of cast and crew.
Shooting schedule, unit list, reviews

Something the Lord Made. Working screenplay incorporating numerous revisions, 110 (+)
pages. Blalock’s part highlighted, holograph alterations

Word list from dialect coach with some specific words (showing southern American
accent); final crew list; article about Dr Alfred Blalock; letters from some who knew him

Dark Harbour. Working script with revisions, AR’s part highlighted, with underlinings,
deletions, additions and notes to himself. AR’s handwritten shooting schedule with notes on
scenes and required costumes. Shooting schedules, crew list, faxes, letters and notes from
Adam Coleman Howard (writer and director), other notes and cards.

Judas Kiss. Fax from Sebastian Gutierrez (writer and director) offering AR the role of
Senator Rupert Hornbeck (despite AR being ‘neither old enough nor Southern’) and, on
verso, his draft reply: ‘I think your script is brilliant – the best dialogue and structuring that I
have read in an age. BUT. Hornbeck is the kind of asshole I don’t really want to play, I’m
sorry. He functions just too much as narrative pepper mill. Trouble is for a cameo to be
really fulfilling it has to have an ending or at least a great exit, or exit line – Rupert is left, as
it were, hanging… Bill Moore I could have enjoyed.’ AR accepted the role of an alcoholic
police detective while the Bill Moore role (with a change of name) was played by Greg Wise.
Hal Holbrook, two decades older than Rickman took on the part of Hornbeck. Working
script with AR underlinings, annotations, notes. Pages of dialect drill, shooting schedule,
notes from Sebastian Gutierrez (writer and director), cards from cast including Emma
Thompson, crew list.

File box of music and songs and readings; cast lists and unit lists for various projects;
production notes for ‘Closet Land’, Fallen Angels [‘Murder, Obliquely’] working script with
AR’s role marked; letter from Tim Robbins about casting for Bob Roberts (he succeeded in
getting Gore Vidal but not Timothy Leary)

BOX 36

Shimizu, Kunio. Tango at the end of Winter. (The Ninagawa Company, Piccadilly Theatre,
1991, AR as Sei). Working script, highlighted and annotated, notes on title. Programmes,
Cards and telegrams

25
The Devil Himself (Peter Barnes from Wedekind). Roneo typescript with AR notes and
annotations. Lyric Hammersmith 1980

Doyle, Rex. Nijinsky. Roneo typescript with AR underlinings (Vaslav) and notes and
annotations. Sheffield Crucible
[Rex Doyle married to Sandra Voe: see Doyle obit in Guardian for quotes from AR]

Holman, Robert. Other Worlds. T/s 121 pp. with notes and annotations in text, other notes
laid in. Royal Court 1983. Directed by Richard Wilson, AR Assistant Director, Juliet
Stevenson as Betsy. Cast list + 2 photos

Marston, John. Antonio. Adapted by Peter Barnes. Roneo typescript from Margaret Ramsay
Ltd., signed by AR with his notes, underlinings, 2 pp. of notes summarising his character and
action + 1 p. additional notes about costume and changes

Whelan, Peter. Captain Swing. Working typescript, beginning with Scene Two (p. 9), with 1
full p. of notes.

Wertenbaker, Timberlake. [New translation of] Mephisto. Photocopy typescript, 101 pp.,
Hendrik Hofgen part highlighted and with AR notes, holograph alterations to text, deletions,
instructions to self. Song at end in his hand. With photocopy typescript of a literal
translation of the Klaus Mann novel by Joyce Nettles. In a paper folder with further AR
notes.

Anthony and Cleopatra.

Working rehearsal draft, 14 August 1998 with AR markings and notes; cast list,
reading notes, programmes (one signed by all the cast)

Letters from many who had seen the play (friends but also teachers, drama students,
others) and wrote (generally) in praise, contradicting the critics. Thoughtful and perceptive
comments on his performance, and from Rima, Sam West, Thelma Holt, Fiona Shaw (a fine
series of 7 letters written from Lyttleton stage where she was appearing as Miss Jean Brodie),
Clive Swift (was transfixed by your brilliant reading’), Neil Kinnock, Phyllida Law, Genista
McIntosh, Trevor Nunn (with AR draft reply on verso), Sean Mathias, cast of A&C
(‘anonymous’),

As You Like It. Working script mimeographed 109 pp., underlinings and a few notes, 4pp. of
holograph notes laid in.

The Philadelphia Story. Two photocopied scripts

26
Brecht, Bertolt. Fears and Miseries of the Third Reich (directed by Giles Havergal).
Working script (photocopied typescript) with underlinings, notes in pen and ink and pencil

Behn, Aphra, edited by Fidelis Morgan. The Lucky Chance [Royal Court, directed by Jules
Wright].

Working script with AR underlinings, notes on character and action, deletions and
alterations to text, a portrait sketch on verso of p. 2, two separate pages of holograph notes,
77 pp. With a separate mimeographed copy of the script and printed Royal Court Writers
Series edition

Typed page of General Notes: Objective for final preview; page of notes for each
actor; photograph of AR

Gala Premiere Souvenir Programme, 4 July 1984 [in aid of the Sarah Siddons
Theatre]; flyers and postcards

Correspondence file including Jules Wright, Emma Thompson (‘Marianne and Gaia’),
Julie Walters (his suspicions about Peter Gill were right, ‘he thinks you are wonderful but
wants something totally different. God knows what!! … You are really great in ‘The Lucky
Chance’ - & I would love to work with you), Natasha, Lindsay, Harold [Hobson?], and others

Chekov, Anton, version by Thomas Kilroy. The Seagull. Working script, signed by AR,
heavily annotated in red ink, black ink, pencil with notes on motivation and behaviour of his
character [Aston]. Alterations and deletions to the text and five pages of inserted
mimeographed text, 68 + 5 pp. In green folder with AR holograph schedule, separate page of
new text and holograph notes, cast list rehearsal notes.

Loose leaf pad with 18 pages of AR holograph notes about the late 19th century and
‘the kind of world Aston might have come from, rather than a particularly detailed study of
his contemporaries.’ With reflections on Darwin, economics, Fabians and Marxists,
agricultural collapse, education, William Morris, the Aesthetic movement, and parallels
between Aston and Wilkie Collins.

Brothers Karamazov (Brighton Theatre). Working script (mimeographed typescript from

Margaret Ramsay Ltd) with underlinings, notes and annotations, and alterations to text in red
and black ink, 5 additional pages of carbon typescript revisions laid in. 115 (+5) pp. With
flyers and 6 photobooth pictures of AR, and 6 of other members of the cast

27
Wilson, Snoo. The Grass Widow. Two working script, both heavily revised with pages of
new text laid in and other holograph revisions, additions, deletions, notes on character and
motivation. 72 (+) pp. + 115 pp.

Written at the suggestion of Max Stafford-Clark and performed at the Royal Court

Letters from Mickey Feast, Sean and others; reviews

Hughes, Dusty. Bad Language [Hampstead Theatre, April 1983]. Working script (roneo
typescript, pages of revised typescript taped in) with underlinings, textual deletions and
alterations, additional text in AR’s hand.

32 pp. of holograph notes fleshing out and creating backstory for his character [Bob
Thomas]; 4 pp. of notes on literary humanists. Cast list, cards

NOTES:

The Fourth Wall, Dario Fo monologues translated by Gillian Hanna, cast of Paola D and
Maggie Nichols, AR did the Graphic Design. Produced by Monstrous Regiment c. 1973

Citizens Theatre Co, Brecht’s Fears and Miseries of the Third Reich with AR. Directed by
Giles Havergal

Films Blow Dry, Snowcake, Bottle Shock, Something the Lord Made (HBO Films)

Channel 4/Film 4 list of 100 Greatest Sex Symbols AR = 14

BOX 37: Rep pictures and posters

BOX 38: Awards and Certificates

A large collection of certificates, nominations and awards including, among many others:

Latymer Upper School. Competitive Festival of Speech and Music, July 1958. AR awarded
a mark of 62 with adjudicator reporting him as ‘clear – a little monotonous’; The Gild
Guerdon award for AR as Chamerlayne, 1963-1964; Latymer Drama Colours, December
2004

GCE, March and July 1964 certificates

Southall Festival of Music, Dancing, Speech and Drama, 1965. Certificate of Merit for
Individual Performance; 1966 Certificate of Honour for Drama – Individual Acting

Chelsea School of Art, 1968. Diploma in Art and Design, Second Class Honours Upper
Division, for course in graphic design. Diploma show invitation; 3 negatives of show

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Certificate of Proficiency in Stage Fighting, 1973

RADA. Honours Diploma, 1974

RADA. The William Poel Memorial Prize, 1974

BAFTA, 1991. Nomination for outstanding achievement as Best Actor in a Leading Role for
Truly, Madly, Deeply

BAFTA, 1991. Certificate of nomination and British Academy Award for Best Actor in a
Supporting Role, for Robin Hood: Prince of Thieves

Cinema Arts Foundation, 1992. Award of Merit for Best Actor for Truly, Madly, Deeply

BAFTA, 1995. Certificate of nomination for Best Performance by an actor in a supporting

role for Sense and Sensibility

Screen Actors Guild Awards, 1995. Nominated for Outstanding Performance by the cast of a
theatrical motion Picture for Sense and Sensibility

BAFTA, 1996. Certificate of nomination for Best Performance by an actor in a supporting

role for Michael Collins

University of Arts London 2009. Honorary Fellowship, with AR’s holograph notes for reply,
programme, menu

Antoinette Perry Award, 1986-1987. Nomination for Best Performance by a Leading Actor
in a Play for Les Liasons Dangereuses

Antoinette Perry Award, 2001-2002. Nomination for Best Performance by a Leading Actor
in a Play for Private Lives, framed

Laurence Olivier Awards 2002. Nomination for Best Actor for Private Lives, framed

Whatsonstage Theatregoers’ Choice Awards 2002. Best Actor for Private Lives.

Emmy Awards 2003-2004. Nominated for Outstanding Lead Actor in a miniseries or a movie
for Something the Lord Made

Eighth BAFTA Scotsman Celebrity Lecture. AR in conversation with Faynia Williams.

Programme.

Literary and Historical Society of University College Dublin. James Joyce Award, 2009.
Certificate, framed

Cabinet Office 2008. Letter from Head of Honours in reply to AR declining honours, with
AR holograph draft letter.

Screen Actors Guild Awards, 2013. Nominated for Outstanding Performance by a Cast in a
Motion Picture for Lee Daniels’ The Butler

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CORRESPONDENCE

Prince Charles (‘I did not realise when we met after your marvellous performance in the St
James’s Palace State Apartments the other evening that you had taken Robert Lindsay’s place
at only one and a half hour’s notice!; thanking AR for performing at the 50th Anniversary of
the Coronation , ; Highgrove invitations), Richard Attenborough (3 letters and a card about
AR’s great support and work for RADA), Howard Barker (‘I am writing a terrifying play for
you …’), Julian Barnes (asking him to read at a charity event), Mikhail Baryshnikov (signed
programme, White Oak Dance Project at Sadler’s Wells), Margaret Beckett (including a letter
written after the death of John Smith), Tony Blair (with thanks for ‘all your work for us’;
Downing Street and Chequers invitations), Gordon Brown, Sarah Brown (on their London
schedule, and the loss of their daughter), Simon Callow (about a proposed Peter Barnes
season at The Criterion), Bill Clinton (Hay programme inscribed to Rima), Sacha Baron
Cohen (two letters about a script [Ali G Indahouse] he is writing, AR ‘would be “da man” to
play the part of the Deputy PM’), Tom Courtenay, Brian Cox, Judi Dench, Laura Dern,
Lindsay Duncan,

Albert Finney, Ken Follett, Brendan Fraser, Michael Frayn (praising Alan’s performance in
Benefactors, his ‘most beautiful elegance, economy, and power’), Brian Friel, Richard E.
Grant, Simon Gray (about being confused with Peter Nichols), Nigel Hawthorne (2 cards,
both thanking him for support: ‘Your warmth and kindness are rare qualities in this cynical
world’), Jools Holland, Isabelle Huppert, Nicholas Hytner, ICM (letters from agents and
retained draft from AR announcing that he has decided to leave ICM), Eiko Ishioka, Eddie
Izzard, Mick Jagger (charity invitation), Helena Kennedy, Glenys Kinnock, Neil Kinnock (3
ALsS, one following the Labour victory in 1997 ‘As the smoke – but not the ecstasy -
clears’),

Jude Law, Phyllida Law, Kathy Lette (3 pp. tls and card on her Royal obsession, James
Hewitt, a holiday with George Harrison, plans to film her book Foetal Attraction), Patti
LuPone, Peter Mandelson, Geraldone McEwan Ian McKellen (letter and cards including
descriptive postcard from New Zealand where 6 units and 500 crew were filming Lord of the
Rings), Ed Miliband, Arthur Miller (a dollar bill inscribed ‘For Alan/ Afraid it’s going down /
Arthur Miller’), Anthony Minghella (letters, one offering the part of Fenelon-Barnes in The
English Patient, and a page of acting notes), John Mortimer, Peter Nichols (asking AR to look
at an unproduced play of his, ‘Pursued by a Bear’: ‘It would hugely gain from the bravura
you alone these days seem to bring to both live and filmed performance’, and thanking him
for his courteous rejection), Bill Nighy, Edna O’Brien (6 letters/cards, discussing her work on
Maud Gonne, sending a copy of ‘Mr Berry’ for him to read, later staged as Haunted, and
hoping he might direct it), Mike Oldfield (thanking Alan for doing the voice on Tubular Bells
2), M. Pleasance (long letter on the death of her father Donald),

Peggy Ramsay (‘How kind of you to write about Arena – the response, alas, has been
numbers of manuscripts!), Vanessa Redgrave, Ian Rickson (‘What a wonderful stage actor
you are. Mythic. Intuitive. Compelling’)*, Philip Ridley (about his film ‘The Passion of
Darkly Noon’), Tim Robbins (on Bob Roberts: ‘You, of course, are incredibly funny and

30
dangerous and an absolute joy to play with in the editing room’), James Roose-Evans (on
Richard Wilson, Jane Austen, and preparing for a role), Lloyd Rose, Greta Scacchi, Gene
Shalit, Fiona Shaw, Antony Sher (about the extraordinary political change in South Africa,
the screenplay of his novel Middlepost, ANC blessing for the film), Kate Silverton, Lord
Snowdon (several letters, one about AR ‘mountaineering up’ the Albert Memorial in a kilt,
and others about Mesmer; invitation and signed menu from 1995 Messel luncheon), Juliet
Stevenson (sightseeing in New York), Sting (fax about his film The Grotesque, hoping AR
will read the script), Sara Sugarman (including one about David Thewlis), Emma Thompson
(2 cards, on taking liberties with Jane Austen), Alfred Uhry (with AR’s draft reply on verso),
Harriet Walter (knows he has been offered Much Ado and hoping he will accept), Sigourney
Weaver (‘Your Alexander [in Snowcake] is a brilliant and mournful soul – I shall miss him
and you’), Snoo Wilson (about ‘Dogma’: ‘almost as amazing as you described it’, AR’s
voiceover of Babitsky’s War, reviews of new play ‘like being attacked by a pack of maddened
corgis!’), Kate Winslet (on new motherhood), Victoria Wood (about domestic matters, her
own work, his role in Plots and Proposals

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