Ken Campbell

Kenneth Victor Campbell (10 December 1941 – 31 August 2008) was an English actor, writer and director known for his work in experimental theatre. He has been called "a one-man dynamo of British theatre".

Campbell achieved notoriety in the 1970s for his nine-hour adaptation of the science-fiction trilogy ''Illuminatus!'' and his 22-hour staging of Neil Oram's play cycle '' The Warp''. The ''Guinness Book of Records'' listed the latter as the longest play in the world.

''The Independent'' said that, "In the 1990s, through a series of sprawling monologues packed with arcane information and freakish speculations on the nature of reality, he became something approaching a grand old man of the fringe, though without ever discarding his inner enfant terrible." ''The Times'' labelled Campbell a one-man whirlwind of comic and surreal performance.

Michael Coveney, in an obituary in ''The Guardian'', described him as "one of the most original and unclassifiable talents in the British theatre of the past half-century. A genius at producing shows on a shoestring and honing the improvisational capabilities of the actors who were brave enough to work with him." The artistic director of the Liverpool Everyman and Playhouse said, "He was the door through which many hundreds of kindred souls entered a madder, braver, brighter, funnier and more complex universe."

Early life and career

Campbell was born in Ilford, Essex, the son of Elsie (née Handley) and Anthony Colin Campbell, who was a telegrapher. He staged his first performances in the bathroom of his childhood home: "I was three years old and helped by my invisible friend, Peter Jelp, I put on shows for the characters in the linoleum."

He was educated at Chigwell School (where he won the Drama prize) and then studied at RADA before joining Colchester Repertory theatre as an understudy to Warren Mitchell. In 1967 he became resident dramatist and acting company member at the Victoria Theatre, Stoke-on-Trent. He soon began writing and directing his own productions, including working with director Lindsay Anderson. After seeing the American Living Theatre at The Roundhouse in 1969 he was inspired to found The Ken Campbell Roadshow, a small theatre group that performed in unconventional venues such as pubs. Members included Bob Hoskins, Bernard Wrigley, Jane Wood, Dave Hill and Sylvester McCoy. Campbell was invited by John Cleese to appear with his Roadshow team in the first '' Secret Policeman's Ball'' in June 1979.

Theatre director and playwright

In 1976, he and Chris Langham formed the Science Fiction Theatre of Liverpool in order to stage '' Illuminatus'', a nine-hour cycle of five plays by himself and Langham based on the cult trilogy of avowedly anarchist science fantasy novels of the same name by Robert Shea and Robert Anton Wilson. Starring Campbell and Langham themselves, the production featured Neil Cunningham, David Rappaport, Jim Broadbent, Bill Nighy and Campbell's future wife Prunella Gee. It later moved to the National Theatre, where it opened the new Cottesloe Theatre in 1977.

Sir Peter Hall, director of the National at the time, writes of Campbell in his ''Diaries'', "He is a total anarchist and impossible to pin down. He more or less said it was a crime to be serious."

''The Warp'', based on the real life experiences and adventures of author Neil Oram, is a dizzying trek through the nether reaches of gurudom and tireless post-sixties mind-expansion, directed by Ken Campbell, and opened at London's Institute of Contemporary Arts in January 1979. It was spawned by the encounter between Oram and Campbell after Oram gave his acclaimed performance as raconteur at the ICA. Campbell commissioned the cycle of ten plays after hearing Oram. The cycle's inordinate length when (as was intended to be possible) it is played together, 22 hours, rendered the 9-hour ''Illuminatus!'' a mere bagatelle by comparison. For the first two weeks the performances were of one play per night, after which the impetus for a marathon performance, a real challenge to actors and audience, became irresistible. The success of this remarkable effort by all concerned led to three full marathon performances at the ICA. Five marathon performances followed at the Roundhouse in London in November 1979 also directed by Ken. Probably the most remarkable, and in terms of the ethos of the author and the work, the most attractive event in this episode was the five marathons that were performed, against the wishes of an army of local officialdom, during a squat of the Regent Theatre in Edinburgh during the Festival of 1979. The Scottish audiences were as enthusiastic as the London crowd. After one performance at Hebden Bridge in Yorkshire, a further performance was given at Liverpool Everyman Theatre in a ten-week run from 29 September – 6 December 1980. Cult status was established giving some credence to the publicity material - "The world may soon divide into those who have been through THE WARP and those who have not" More recently the cycle was revived in the 1990s in a production directed by Campbell's daughter Daisy.

In May 1979, again at the ICA, the company presented the first stage version of ''The Hitchhiker's Guide to the Galaxy''. One eye-popping aspect of the production was that for each set change the entire audience was wafted 1/2000th-of-an-inch above the floor aboard an industrial hovercraft. The cast cavorted on various ledges and platforms. The craft's carrying capacity meant that audiences were limited to a maximum of eighty each night. Langham was Arthur Dent, Richard Hope as Ford Prefect and narration of The Book was split between two usherettes. The problem of how to portray Zaphod Beeblebrox, the Betelgeusian blessed with three arms and two heads - not an issue in the original radio series - was assailed in typical Campbell fashion by simply (or not so simply) putting two actors inside one large costume.

Audience-carrying capacity was not a problem at London's vast Rainbow Theatre where Campbell mounted a yet more grandiose version of ''The Hitchhiker's Guide'' in July 1980. The venue had been renovated in the 1970s to take rock operas. Some reviewers, who in general did not greet the show favourably, labelled it a musical, since it now came with incidental music and audacious laser effects. It ran for over three hours, despite attempts to shorten the script, and was forced to close some four weeks early, losing a lot of money in the process.

For a year, 1980–1981, Campbell was artistic director of the Liverpool Everyman Theatre. From 1984, he made repeated efforts to adapt for the stage ''VALIS'', the largely autobiographical cult science fiction novel by Philip K. Dick, but to the disappointment of fans, these efforts came to nothing.

Television, radio and film

Campbell played Alex Gladwell, a corrupt lawyer, in one of the TV events of the 1970s, ''Law & Order'', the notorious but ground-breaking corruption drama by G.F. Newman, a luminary of British TV screenwriting. The series provoked such a press outcry at the time that the BBC
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