Laurence Evans

Powerful and influential theatrical agent

Laurence Ansdell Evans, theatrical agent: born Southport, Lancashire 3 March 1912; four times married (one son deceased); died London 24 December 2002.

Laurence Evans was one of the last examples of a vanishing breed: the theatrical agent as grandee. In his long career he had represented much of the richest seam of British acting talent. His famous clients included, at various times, clutches of theatrical knights and dames such as Laurence Olivier, John Mills, Ralph Richardson, John Gielgud, Alec Guinness, Donald Sinden, Maggie Smith and Wendy Hiller. Among other leading figures he managed were Vivien Leigh, Ingrid Bergman, Kay Kendall, Joan Plowright, Ronald Reagan and Albert Finney.

His annual summer garden party, held at Chesworth House, his splendid country retreat near Horsham, Sussex, once the home of Catherine Howard, often appeared as if the entire Hollywood Oscars ceremony had been magically decanted on to his sweeping Sussex lawns.

When Evans, at the age of 81, finally retired nine years ago as Chairman of International Creative Management (ICM) with a farewell party at the Ivy Restaurant, where Albert Finney gave him a valedictory send-off, he had long been the most powerful and influential agent in Britain.

Imposingly tall, immaculately groomed and tailored, Evans exuded a sense of armour-plated confidence, the same quality of fearless conviction that made him such a formidable dealmaker. "It's good when your agent can at times be a bit of a bastard," quoted Olivier feelingly in tribute to his old friend's ability to strike terror into the heart of the grandest studio mogul.

After Olivier's long and unremunerative tenure as Director of the National Theatre, Evans acted powerfully to restore his fortunes by finding him a series of cameo roles, which though of no great merit in themselves paid hundreds of thousands of dollars for a few days' work. He also secured Olivier's deal for his American Polaroid TV ad, worth nearly a million dollars. An agent to the last, Evans is reputed to have negotiated briskly between St Paul's Cathedral and Westminster Abbey for Olivier's memorial service.

Evans savoured the fruits of his success and played the role with zest. His imperious presence was a notable feature at London first nights and he would typically make the short journey between his flat and office driven by chauffeur in his latest Rolls-Royce.

The son of a well-to-do solicitor, Laurence Evans was born in Southport in Lancashire and, although he was intended for Harrow, his aversion to all forms of sport allowed him to be educated at various local grammar schools. At the age of 19 his fascination for film-making lured him to Los Angeles, where he spent two years in Hollywood studios working as a technician.

In 1930, while employed at Twickenham Studios as a sound recordist, he met the young Olivier, who was then playing his second film role in an appalling British "quota-quickie" comedy, Too Many Crooks. It was the beginning of an enduring friendship and quickly led to Evans's being taken on as production manager of Olivier's first Shakespearian film, Henry V. Soon afterwards Evans was made general manager of the Old Vic Theatre Company where, from 1943 to 1946, he supervised the renowned Olivier/Richardson classical seasons at the New Theatre, London.

In 1946 Evans left theatre management to set up as an agent. Together with Cecil Tennant, Olive Harding and Robin Fox (father of the Fox acting dynasty and the producer Robert Fox), he opened at 139 Piccadilly the first London branch of the Music Corporation of America (MCA), a talent agency which had been founded as a band- booking organisation to supply dance music during the prohibition era. Evans's first client was John Mills. Others to join him were Alec Guinness and Ronald Reagan, who had arrived in England to film The Hasty Heart (1949).

In 1961, because of the American anti-trust laws that did not permit a production company also to own a talent agency, MCA was forced to close. Evans, however, still retained a number of his old clients and shortly afterwards he acquired, with Robin Fox, another agency, London Management. Evans remained as the senior executive in a number of agencies, acquired through various mergers and takeovers, resulting finally in the formation of ICM, where he remained until his retirement.

Among many notable coups was his securing for Rex Harrison the lead role in the film of My Fair Lady (1964) in the face of rivalry from Cary Grant. But not all his client relationships ran smooth. Guinness left him after becoming disillusioned by having to take the role of Japanese businessman in the movie tear-jerker A Majority of One (1961). Harrison also became disenchanted after appearing in 1969 in an unsuccessful comedy, The Lionel Touch, though the rift between them was eventually mended.

Evans combined his outward show of imperious aplomb with an unswerving business integrity, a consuming curiosity, a mordant and often wicked wit, a passion for animals and birds, and a deep fund of worldly wisdom. When a young agent explained to him how, after first nights, he felt impelled to give his clients detailed notes, he received the reply: "Dear boy, what utter nonsense. The only words an actor wants to hear from his agent are 'Darling, you were marvellous!' "

Evans was married four times, the first time in Mexico while still in his teens. By his third wife, Barbara Waring, he had a son, Adrian, who became a successful investment banker and died last year. In 1960 Evans married his fourth wife, Mary Campion, who for over 40 years acted as his indefatigable and charming hostess.

In his last years he lived in a splendid flat overlooking the Thames in Chelsea Harbour. Although his eyesight and hearing had become much impaired, his mind retained its razor-sharpness and his curiosity remained unquenchable. His wife Mary saw to it that old friends were always on hand to come and dine. "Come close," he would greet his guests, in his inimitable silky drawl. "I want to hear all the gossip, every last single word."

Derek Granger

* Laurence Evans made a vital contribution to the Motor Neurone Disease Association when it was just a fledgling charity, writes Roy Price.

David Niven died from motor neurone disease in 1983, seven months after I had been appointed as the association's first Director, and I was about to organise the launch of the Niven Campaign in aid of the association. Over 150 friends and colleagues as well as the Niven family became campaigners. Anthony Quayle, being the most active vice-president, introduced me to Evans, I believe to check our bona fides. This being accomplished, Laurie and I became friends, and he was instrumental in assisting the campaign to become enormously successful and, most importantly, in bringing this then little-known terminal disease to the notice of the public. It is no exaggeration to state that without his goodwill and support it would have probably have taken many years' hard slog to achieve.

Our first major event took place at the Royal Opera House, Covent Garden, with Jessye Norman performing, without fee, to a packed house, and it helped put MND and the charity "on the map".