embarked on a UK, European and American theatre tour to talk about his life, work and anecdotes in An Evening with... Sir Donald Sinden. Produced by his son Marc, this included, on 8 November 2007 as part of Marc's British Theatre Season, Monaco, a performance in front of Prince Albert of Monaco (the son of Grace Kelly, his co-star in the film Mogambo) at the Théâtre Princesse Grace, Monte Carlo. Royal Shakespeare Company Joining the Shakespeare Memorial Theatre company in 1946, Sinden was an Associate Artist of the Royal Shakespeare Company (RSC) from 1967. Outstanding among his many stage appearances for the RSC, both at Stratford-upon-Avon and in London's West End (usually at the Aldwych Theatre), was his performance in 1963 as the Duke of York in The Wars of the Roses opposite Peggy Ashcroft as Queen Margaret. Other performances by Sinden for the company were Eh? by Henry Livings in 1964; as Lord Foppington in The Relapse in 1967; Malvolio in Twelfth Night (opposite Judi Dench as Viola) in 1969 and again with Judi Dench and her husband Michael Williams in 1974, as Sir Harcourt Courtly in London Assurance (Albery Theatre). After the production transferred to New York in 1975, Sinden became the first recipient of the newly established Broadway Drama Desk Special Award. Sinden sought and received advice about the character's costume and mannerisms in the role from the Regency novelist Georgette Heyer. For the 1976 Stratford season and then at the Aldwych Theatre in 1977, Sinden won the Evening Standard Award as Best Actor for his performance in the title role of King Lear (with Michael Williams as the Fool). Meanwhile, he was also portraying in repertory, Benedick (regarded as "the most admired Benedick in living memory") opposite Judi Dench's Beatrice in John Barton's highly acclaimed 'British Raj' revival of Much Ado About Nothing, and in the same time frame also rehearsing the third season of the LWT sitcom Two's Company with Elaine Stritch during the daytime and filming the show at the studio in front of a live audience on Sunday evenings. He claimed "RSC money isn't very good compared with a normal commercial theatre rate. I was on their 'star' salary, which meant it worked out at about £47 per performance! You work for them 'for the honour' of doing the greatest classical plays, not for the money, so you have to make up the