Actor, editor and writer, long-time Shanghai resident – he moved to the city back in 2007 – Paul Collins sadly succumbed to cancer on Tuesday, February 27, surrounded by his family in his hometown of Manchester, England. A truly unique Shanghai character, there will be a memorial in celebration of his life this Sunday March 11 from 6.30pm at Sasha's. Here, three of his friends from his time in the city remember him. You can also hear Julien Bertrand's podcast interview, where Paul talks about his life, right here.
Tom Mangione: "Words possessed him, and through him, they possessed others."
I first met Paul in 2010 while working at the Global Times. We started at the same time, so we shared a bond as the “new guys”. Paul was the new editor, and I the new writer. It was a chaotic place to work, and many of the pieces were less than groundbreaking. Far less. I manufactured a story about “stylish” umbrellas in an afternoon. I narrated a “majestic” ferry ride across the Huangpu. I waxed poetic about the “fine libations” at student bars.
Although the absurdity of it all got to him sometimes – rants in the fire escape, heated protestations in the bar, a deep, earthy sigh on a way back from a coffee break – when it came to the work, Paul remained on point. He was, through and through, a badass editor. No matter how defective or cryptic a story was, if it ended up on Paul’s desk, it would come out a coherent, professional-sounding work. It might still be a story about the state of silverware in Shanghai coffee shops, but it would shine. (Pardon the pun, but I think Paul would approve. His headline puns were legendary.)
To put it another way, Paul cared. He cared about the work and about you as a writer. There were mistakes that I’d routinely make, and when he’d notice it, he’d always let me know. Not in a pretentious or off-putting way, just as a matter of fact, just as a “hey, you know what would make your writing better” kind of way. And it worked. I grew so much as a writer because of him, and for that alone, I’m grateful to have known him.
Of course, we were friends, too.
I’ll always remember Paul’s deep love for literature. Talking about a book with Paul was like going through a sports highlight reel. You took turns delighting in a turn of phrase, the masterful articulation of a character, or the elegant twist of a plot. No pretense. No attempt to “understand” or analyze. Just replaying the hits one after another and basking in the sheer joy of it.
Paul liked to drink, often too much. It was something he struggled with, and there were times when it was heartbreaking to watch. Still, he was a far cry from some bleak and depressing drunk. While on the stuff, there were moments when Paul was downright electrifying to be around. For me, it was when he recited poetry. Auden was his favorite.
As a rhapsode, he was one of the best I’ve ever known. The words possessed him, and through him, they possessed others too. Every time I heard him recite a poem I relived that breathless realization I had when I first discovered poetry: that words can live beyond the mundane world of everyday communication; that, if wielded correctly, words alone are enough to convey the heartbreaking majesty of the universe; that words can sing.
Even back in the Global Times days, it was obvious to everyone not just that Paul loved to perform, but that he should perform. We pushed Paul to get involved in local productions, and in the years following, he found a home on the Shanghai stage. The more that Paul got involved in the theater, the less I saw him. A dinner every few months, or maybe we’d cross paths on the weekend.
Still, I watched him in the plays. His hair had grayed early and he had a slight, frail build, so inevitably he ended up playing 'The Old Man'. He kvetched about how he was typecast, but I knew that he relished every moment he got to share his passion for performing with others. And even in the smallest roles, he was a joy to watch.
The last time I saw Paul was over lunch. We talked about two books by Cormac McCarthy that I’d lent to him. The literature highlight reel rolled on over most of lunch, but we also talked about his upcoming projects, and what 'Old Man' he was going to play next. We joked and laughed. He seemed so content, so happy, and so full of life. If I had known that it was going to be the last time that I’d ever see him, I’m not sure I would have wanted it any other way.
Farewell, my friend.
Ann James: "Once he was discovered, every theater company in town clamored to include him in their productions."
Simply put Paul Collins was the best actor in Shanghai. Now, thats a small word with big impact I realize, but I don't think anyone would contest it. He had his troubles. We all know that, and most of us can recall a few instances that were worrying. But at the end of the day, and quite remarkably, when that man stepped on stage all eyes went to him.
His ability to make miniscule changes and transitions was beautiful to watch. He listened to his fellow actors with such grace and a willingness to 'react' instead of 'overact' that, once he was discovered, every theater company in town clamored to include him in their productions. Paul was a natural talent. He took up acting to keep him from his vices. But man what a gift he had!
His art of conversation was bar none. He was so smart. I think I will miss our conversations about writing and music even more than his excellence on the stage. We hold him up as a star of our small community in Shanghai, and now we must release him to the angels. Dear, dear Paul Collins. Too soon. Godspeed.
Fiona Pollard, Philip Hohol and Danny Wall: "He contributed to each play with such imagination, such humor, and such bravery."
Shanghai’s English-language theatre community has lost someone special. Paul Collins passed away last week due to the cruel surprise of a hidden cancer. It has shocked us all, not only because no one should be taken away so soon and so suddenly, but also because his spirit, dedication and talent made an indelible impression on so many of us.
The theatre community is a wonderfully diverse group. Our members run the range from complete amateurs making their first tentative steps in performing, to semi-professionals trying to make a living from their art. We have dreamers, drama-merchants (more interested in what’s happening off-stage than on) and a multitude of artists who are able to channel the truth and beauty of the universe into their performances. Our beloved Paul filled every one of these niches at some time or another.
From the moment that Paul met the cast of King Lear during their post-performance drinks ("You’ve been doing Shakespeare? I love Shakespeare!") until his final set of rehearsals for The Crucible, Paul’s delight in English Literature, his dedication to drama and his determination to continually improve as an actor shone through in every audition, every rehearsal, every performance and every late-night discussion.
From the producer’s perspective, Paul’s helpfulness, reliability, and gallantry were ever-present. He was the first to volunteer to help with get-in and get-out, with props, costumes, publicity and anything else we might need. He was so reliable; always arriving on time and assisting others whenever he could. In fact, the last thing he did for East West Theatre was to completely overhaul and update our press contacts list.
On stage Paul’s artistry, hard-work and skill made a permanent impression on all. In the words of Philip Hohol, Paul’s first director in Shanghai, “I have had the blessing to work with Paul, and I was struck by the humility with which he approached his craft. He always looked as if he was afraid of letting people down, but of course it was just the opposite.
"He walked on stage, disappeared into his role, and contributed to each play with such imagination, such humor, and such bravery, that everyone felt lucky to be performing with him. He made the rest of us look better, which as anyone in the business knows, is the highest compliment you can pay to an actor.”
Paul’s final role was acting as Reverend Parris in Arthur Miller’s The Crucible. The director, Danny Wall, had also worked with him on other shows, and he shared some thoughts about Paul, saying he was “always so perfect in whichever role he found himself in.”
It is lucky when a director can glance over the cast members and not be able to envision any other person in a particular role, but that was always the case with Paul. He further noted that playing a supporting role requires special talents. There are acting skills needed, of course, but there’s also the ability to be open, to be reliable, helpful, and willing to do whatever it takes.
Paul had all of these qualities and more. He was always a solid and dependable addition to any cast. Off the stage, these qualities were even more apparent. He was helpful and welcoming to all, becoming fast friends to Shanghai veterans and newcomers alike.
Paul often joked with Danny that his parts for most plays were that of the minister or priest, or the uncle or someone’s brother. But true to life, these roles sum up so much about him—the kindly, familiar, and jovial person that we trusted and relied on.
We have lost all of that, as well as a true artist whose emotional honesty and dedication to truth and beauty shone through in every performance. We all feel that we now have to work just a little harder to make plays that he would be proud of. Yet, at the same time, Shanghai will always glow brighter for his memory.
Paul Collins’ stage acting credits in Shanghai included:
2011: Polonius in Rosencrantz and Guildenstern Are Dead by Tom Stoppard
2011: Peter in Zoo Story by Edward Albee
2011: Gus in The Dumb Waiter by Harold Pinter
2012: Dr Rance in What the Butler Saw by Joe Orton
2012: Yakov in North Bank, Suzhou Creek by William Sun
2012: Eilert in Hedda Gabler by Henrik Ibsen
2013: Henry Saunders in Lend Me A Tenor by Ken Ludwig
2013: George Aaranow in Glengarry Glen Ross by David Mamet
2014: Dr Sapirstein in Rosemary’s Baby by Ira Levin
2014: Paul in The Complete Works of William Shakespeare, Abridged, Revised
2014: Little Girl in Samhein (devised)
2014: Julian in Rendevous by Jason Lasky
2015: Police Inspector/Barman in Fight Club by Chuck Palahniuk
2015: Thomas in Agatha’s Anguish by Charmika Stewart
2015: Yakov in Shalom, Shanghai by William Sun
2015: The Ticket Keeper in Devil’s Fables
2016: Philippe in Heroes by Gerald Sibleyras
2016: Nestor in Troilus and Cressida by William Shakespeare
2017: Minister/barman in Prelude to a Kiss by Craig Lucas
2017: Sims/Papa in The Nether by Jennifer Haley
2018: Rev Parris in The Crucible by Arthur Miller
Along with many films, web shows, and voice recordings.
There will be a memorial for Paul Collins on Sunday March 11 from 6.30pm at Sasha's.
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