"Why are we here?" This is the question that Philip asked at the beginning of rehearsal for a sketch for a Variety Night or a production of a major theater piece. It reminded  us all of why we were there, to share stories and experiences of characters with the final important member of the company, the audience. Philip unlocked the fun and anarchy which good theater shares with life and helps it to talk to all of us about ourselves. Philip will be sorely missed by all of us, friends and colleagues. He will always be, ' that daring young man on the flying trapeze'.

I first saw/met Philip at the Theatre Royal Stratford East in the early 1970s so have known Philip for 50 years + as has my husband Johnny Munday. In all that time we have witnessed the progression and changes that Philip has made leaving a lasting legacy also inspiring and encouraging many, many people to attain what they wanted to do. May you Rest in Peace, you will be missed so much. Johnny and Margaret 

In 1998 Philip and Clint met Sarah Schlesinger, the chair of the NYU/Tisch Graduate Musical Theatre Writing Program, at a musical theatre conference in London. Sarah told me, “I met these two fascinating men, an older white guy and a younger Black guy. Me and the younger guy got into an argument that led to a really great conversation. I told them if they were ever in New York, they should drop by.” Two months later the elevator door opened at our department in New York and Philip and Clint walked out…and stayed with us for 2 months, attending and observing classes and meeting the students and faculty. Philip mentioned that he ran a theatre that was closing for a renovation and that he wanted to start a musical theatre writers’ course while the theatre was closed. By the end of the 2 months, he had invited me and Robert Lee to be the mentors for that course. That collaboration lasted for 17 years. Philip was the first person who had the words to articulate what I was feeling about the only viable direction that musical theatre could take for the survival of the form: inviting and encouraging more writers and musicians and creators who felt not invited to this musical theatre party to write pieces that spoke to what they knew and felt and desired…with the musics that they knew and loved…AND he ran a theatre and could make it happen…in fact, knew he was going to make it happen. I can’t begin to articulate how important Philip’s clarity has been to my career and to soooo many others. I was introduced to a real community of artists and theatre workers in London and the UK and across the globe because of his vision and clarity and ability to make things happen. Your work and memory will live on in the many folks your clarity and kindness has touched. Thank you, Philip!

Philip got up to speak and raised the subject of class. He spoke so eloquently and I thought - who is this person?  I wanted to know more and I wanted to work at TRSE.  As I write this I have an image of myself seeking him out afterwards, and I was a little starstruck!  

As luck would have it, there was an ASM job going as I was finishing my course. I applied and got the job! That was where I started my career, part of an SM team of 3 with 2 of us being people of colour.  Probably unusual at the time, but not at Stratford East.

How lucky was I to work at Stratford East straight out of drama school.  It set me on a path and introduced me to people who are still friends and colleagues now, some 30-odd years later.  

And it was because Philip had fostered an atmosphere and environment that was challenging and supportive that I thrived and became the stage manager/theatre person that I am now. 

As others have said, he believed in you, when you might not believe in yourself; and trusted that you would rise to the challenge of being asked to do something you thought you couldn't. 

His 'let's get on with it' attitude and sense of justice meant that we had varied and wonderful pieces of work on the stage, and the diverse audiences that some places are STILL struggling to get through the doors.  It was obvious that things should be that way for Philip and he made it so!  How brilliant!

I learned a great deal from Philip and I am very grateful to him.

Thank you so, so much! Lots of love xx

Celebrating the life of Mustapha Matura — with Philip Hedley and Martina Laird

Home

Thank you Philip. Thank you for want you did for me and for so many others. You believed in us. You will be greatly missed. RIEP x

I first contacted Philip Hedley back in the early nineties with my play Running Dream. Philip was so kind and told me he could see there was something special in the script, but he didn’t think he was the right person to offer advice on it. I will always respect Philip for saying that. He gave the script to one of the senior readers and to Topher Campbell to read and then Philip invited me into the theatre to let me know that he would like to put the play on. In 1996 Philip came to Peckham to watch Gulp Fiction, a play written for Eddie Nestor and Robbie Gee, and he asked us to put it on at the Theatre Royal Stratford East, trusting me to direct the show. He was the kind of man that gave you the opportunity to do something you had not done before, and treat you like it was something you’d been doing for years. That encouragement and trust is so valuable. Even when I moved back up north, Philip invited me to take part in the Musical Theatre workshops at the theatre and he gave me the confidence to take my shot at writing panto for Kerry Michael and the rest is history. I will always be grateful for Philip’s belief in me as a theatre practitioner and for him giving me a home from home at the Theatre Royal Stratford East.

Trish Cooke

Philip Hedey was a kind and talented man, witty and clever.   I was lucky enough to work with him on various productions,  and he was  always so  supportive and encouraging.  He has made a wonderful contribution to the Theatre, and to the careers of all the actors and performers whose lives he touched.  He will not be forgotten.

— with Fraser Ayres and Philip Hedley

Dear Philip,

You will be missed and never forgotten. I met you when I was 16yrs old, I was an usher at TRSE and you immediately had an huge impact on my life. Through the work you created and helped be shared on the TRSE stage to the times where you helped me with my drama school auditions in the portal cabin next door to the theatre. I remember 7 years later you coming to see me at the Traverse Theatre in the play "The People Next Door" and telling me you will bring me and the play back to London to be performed at the Theatre Royal Stratford East. You were a man of your word. Performing at my local theatre was a dream that came true because of you. Yet over the last 30 years I watched you do that for so many talented creative people that I love and look up to. You changed lives Philip, you changed my life, you changed the industry and I will never forget that. Thank you for always supporting our company TriForce Creative Network and for always giving me amazing advice and for always supporting me and seeing me for who I was. You showed me that anything is possible and to always build your own and support your community. 

Jimmy Akingbola x

DearPhillip 

There are times when words just won't do! There are non suffice to express the gratitude that so many owe to you for your wisdom, patience and efforts on their behalf. 

Not least myself to whom you were a great mentor, great teacher, director and dear friend.

I am so sad you have gone, but glad you will not be leaving us completely because of the rich legacy you leave behind which will remain treasured in our hearts and minds for as long as we tread this earth. God love you and rest you forever in peace with love and  fond memories fellow Salford lad,  Nigel   

I first got to know Philip as a young theatre administrator when I was appointed to the Drama panel of the Arts Council - he was incredibly kind to me as I knew no-one and we became friends and our paths crossed many times afterwards.

Philip was both a friend and mentor to me when I came into the West End in the '80s.  He joined a small panel we created to grant bursaries to students struggling to pay their way at Drama School and his kindness and wisdom was an object lesson to directors in how to audition.  All through this time he was talking to me about blending rap and hip hop into musical theatre - the holy grail was how he described it.  He was ahead of his time by at least twenty years!  Working with him on Five Guys Named Moe was again a lesson in subsidized and commercial collaboration.  A huge generosity backed with steely determination to ensure his beloved Theatre Royal got maximum benefit.  He is sadly missed.  

Dear Philip,

I never got the chance to thank you in person for all you did for me and many others in their respective careers, so here i am doing it posthumously. Though i am sure if i were to try to express this in your physical presence you would quip, “don’t be so [daft]”.

I am pretty certain, if not hopeful, that your spiritual presence lives on though. So thank you for teaching me (amongst many, many other things) the real meaning of “The Show Must Go On”. On numerous occasions when a cast member was unable to perform, you would thrust a script into the hands of an unsuspecting person (myself included) and politely, but firmly ask, if we would be so kind as to step in for the absentee. 

You had a knack of making people believe in themselves, that they COULD absolutely do it with no rehearsal and an hours notice. Before ceremoniously walking on stage and announcing to the audience that they would be receiving a special performance that evening, and would appreciate their support; to which the cheers would come, and the magic of live theatre would take place! Not being afraid to step into those shoes yourself if necessary.

Your unique ability to champion people was second to none, and your care and due diligence admirable. 

I was honoured to be a part of your swan song, ‘The Big Life’ after being approached by Clint to take on numerous roles, including choreographer. Though of course you had every faith in my ability to wear many hats, having previously convinced me in that “irrefusable” way of yours to star in and re choreograph the production of SAMMY (some years previous),  two days before opening night, after we lost the choreographer and two cast members.

I could go on recounting tales and singing your praises, but suffice to say, you certainly left a lasting impression on mine, and the career of many others, and i will forever be grateful to you. 

Here’s to you Sir Philip, i hope you are up there laughing that infectious laugh with that [“dancing dog that got run over by an articulated lorry, on the way to it’s first performance at the theatre”]. Gone, but NEVER forgotten.

Jason Pennycooke x

Christening

It is to you Philip that I owe such an enormous debt of gratitude.

I have had a career in theatre, ( something my parents never believed I would achieve ) and in my own eyes I have been successful in that career, ( again my parents were doubtful ) a career that spanned over some fifty odd years.

I am extremely grateful to you Philip for setting me on the right path, and instilling in me not only a strong work ethic foundation, but a sincere love for the craft.

I have, over the years met and worked with some truly wonderful and talented people, but it all started back in 1965 at the E15 Acting School where I first met Philip, and when I left after three years, I was invited to join him and the acting company in Lincoln at the Theatre Royal. I was one of the lucky ones.

Although my stay in Lincoln only lasted a couple of halcyon years, I witnessed and was involved in many gorgeous, exciting and brilliant stage productions. And I often wondered if those Lincoln theatre audiences ever knew or appreciated what they were seeing.

Philip, I send you my love. And a BIG thank you.

Brian

Dear Philip, Thank you for all your kindness to me. Thank you for your inspiration on so many vital questions of life and theatre. Thank you for introducing me to Ultz. I remember sitting on your apartment floor one evening and acting Hamlet's "Oh what a Rogue and Peasant Slave am I" for you and Ultz. Thank you for introducing me to Jenny Tiramani. Jenny and Claire and I were really the collective Artistic Director's of my time at the Globe and Jenny always brought your ethics to our decisions. Ensuring diversity and experiment and community as priorities. Thank you for inviting me to come and be Adolph Hitler, the failed painter, at one of your Variety nights! Thank you for being the first director I worked with at RADA when I was 18. For introducing me to careful text work, creating Units, Beats, searching out Objectives and Actions. I witnessed the wonderful acting you drew out of the rest of my term and I have always used what you taught me, from that day to this. It was a piece called Knots by the brilliant R.D.Laing. Thank you for introducing me to his work which later lead me to meet his widow and many other brilliant people working with mental health, psyche and soul. Thank you for bringing food to our rehearsal room when I had mortgaged my home to put on The Tempest in a stone circle. Thank you for your sweet patience and laughter and encouragement, even in my times of confusion. Thank you for all the wonderful plays and evenings I had at Stratford East, for preserving its life and championing change. You will always be an inspiration. My heartfelt condolences to all who love you and whom you loved. I hope Joan has welcomed you into a wide universal theatre now, where your spirit is set free to influence our life here towards justice and mercy, laughter, and love for each other, every other, as you always did. many blessings, Mark Rylance

Working with Philip?  One word describes it for me - (well two actually , but one's very short and says it all for me...       A JOY!                                                                                                                                                                                                    I  was lucky to do so several times, in various theatres, over the years. He gave  actors freedom to find our own way with a character, and to be bold within any guide lines as we went along. It gave me that  freedom which was a big part of the joy of it all!.                                 Perhaps my favourite memory is of  Cinderella at Stratford  East at least 15 years ago now maybe more -- where I played Prince FritzfitzPinceWhoWasCharming - he allowed me to  do a lot of showing off to the audience, and he even let me have a song! (That was brave!) We saw quite a lot of his always interesting and rewarding productions too, especially when he came down to work  at Chichester for a while.                                                                                                                           In the past few years it 's been so good to see Philip, now and then, along with other old chums at various gatherings, and he was just the same as ever, surrounded  by people who also loved and admired him.  A truly special, kind and caring, talented man. 

Sending big best wishes to all chums, and  keeping Philip in our hearts along with them...

Sue J xxxxxxxxx

So many memories of Philip and his  contribution  to Theatre Royal Stratford East , including promoting diversity in audiences, actors and the many successful productions. He worked tirelessly for the Theatre, he encouraged and supported so many young people who went on to be successful in theatre.

Philip was a total inspiration. He gave me my first job at Lincoln Theatre Royal. He launched my career. He was always supportive and kind. Without him I would have been lost. Thank you dear Philip. Rest well. 

Philip was the perfect teacher, the dearest friend and the most inclusive of directors. He showed all three attributes for year one, 1965 at Lamda and managed to make a disparate group from all classes and walks of life into one happy, industrious, cheerful working body.

He had the Australian disdain for class, with which Lamda was somewhat riddled . He was irreverent and witty with that mad, musical laugh and a set of teeth which seemed to be charging forward with his thoughts. He had no pupil/teacher hierarchical hang ups. We were all colleagues with or without benefits. He came to our parties up flights of shabby stairs to even shabbier flats , which had never seen a scouring pad and through fogs of weed and Matteus Rose, he partied . And no one partied harder than Philip. My visual picture of those times is Philip , shirt clinging to him with copious sweat , strands of dark blonde hair plastered to his pinkish forehead,eyes closed or swivelling, in the arms of some larger than life personality of either or both genders.

Fresh as a daisy the next day, he was erudite and knowledgable on the subject of the Rape of Lucrece by Tyrone Guthrie while the rest of us , fifteen years younger could scarsely get our tongues out of our mouths to chant “ ha- humm ah.”

He directed Brian Murphy and I in Alan Plater’s ‘On Your Way Riley’ and it was one of the happiest rehearsal periods of my life. He instinctively knew how to best help the individual and to integrate the smaller parts with the whole. On your Way Riley was a success and we loved our time at Stratford East where on the first day of rehearsal, we were addressed by the director, the musical director and the cleaner in no particular order. He learned a great deal from Ms. Littlewood but she could have learned much from him in terms of temperament and thoughtfulness.

He was both inventive and inclusive- and the best possible audience. I find it hard to separate Philip from the sound of his laugh- that tide of high - pitched gurgles which somehow became a cockerel’s morning greeting before subsiding.

I met him in a coffee bar in New Quebec Street recently, when he was undergoing treatment for his cancer. He was wearing a seersucker jacket and a Panama hat and he looked like an extra on the set of Death in Venice. The perfect English gentleman. From Oz.

Except there was nothing Extra -like about Philip, unless you count, extra kind, extra intuitive, extra passionate and extra talented. I loved him dearly. I respected him and I hope to G-d he and his beloved Lois are having Louis Crystal Roederer in crystal flute’s on the fluffiest white cloud in the firmament. Bless him.

Maureen Lipman DBE