Some advisers are, however, wondering if that, too, will change. Teachers say that alcohol is by far their biggest concern, and worry that there is no clear national strategy for dealing with the problem, nor any models of quit-drinking programmes for schools. In their absence, teachers mix and match all kinds of strategies – peer and professional counsellors, school nurses, and classroom sessions – to encourage students to cut down. When it comes to drugs, many have long made use of the “Prince Charles shock tactic” of getting recovering addicts to talk to students “There’s nothing new in what he did. We’ve been doing it for years – it scares the hell out of them,” says one Hampshire teacher.If nothing else, Prince Harry’s escapades will have contributed further to a climate where everyone knows what is going on, and schools feel more able to be upfront about their problems.

“It’s like bullying,” says Nick Baldington, senior adviser for personal and social education in Essex “Everyone now knows what goes on. If a school says, ‘we don’t have problems like that here’, parents no longer think ‘oh, good’ They see it as naive, or uncaring. Schools serve comm-unities, and if the problems of the community come into school, then we have to help to deal with them.”education independent.co.uk. Adolfo Marsillach Soriano, actor and director: born Barcelona 25 January 1928; married 1957 Amparo Soler Leal (marriage dissolved 1959), 1962 Teresa del R?(two daughters; marriage dissolved 1970), 1976 Mercedes Lezcano; died Madrid 21 January 2002. The revolutionary art form then languished until a cultured Catalan who hated the ordinary restored its polemical brilliance.Under Franco’s dictatorship, Adolfo Marsillach mounted theatrical spectacles whose critical force was clear to everyone except those enforcing the intellectual torpor of those years.From a refined and free-thinking family that included theatre critics, Marsillach made his d?t (on radio) aged 17, and had his first stage success in Madrid in 1950, in a daring production of Buero Vallejo’s En la ardiente oscuridad (“In the Burning Darkness”). By 1953 he was hailed as Spain’s Gary Cooper.His performances in the 1960s of Peter Weiss’s Marat/Sade, Moli?’s Tartuffe and Arthur Miller’s After the Fall provoked tidal waves of controversy.

Theatre, he insisted, was not a museum, it was political.After Franco’s death in 1975, Marsillach laid the bases for the state-sponsored theatre companies that emerged in Spain’s new democracy. He directed the National Drama Centre and the National Institute for Performing Arts and Music and Madrid’s Teatro Espa? Finally he founded the National Classical Theatre Company.Marsillach was unaffected and straightforward “Actors are like horses,” he said. “They spot instantly the class of rider who has mounted them. And they’ll take every opportunity to tweak your nose.”His last big role was in 1999 as star in Edward Albee’s Who’s Afraid of Virginia Woolf?, which he also directed.Elizabeth Nash. Max Ferdinand Perutz, molecular biologist: born Vienna 19 May 1914; Director, MRC Unit for Molecular Biology 1947-62; FRS 1954; Reader, Davy Faraday Research Laboratory, Royal Institution 1954-68, Fullerian Professor of Physiology 1973-79; Chairman, MRC Laboratory of Molecular Biology 1962-79; Nobel Prize for Chemistry (jointly) 1962; CBE 1963; Chairman, European Molecular Biology Organisation 1963-69; CH 1975; OM 1988; married 1942 Gisela Peiser (one son, one daughter); died Cambridge 6 February 2002.

His achievements followed from a combination of several outstanding qualities, not all intellectual. His irresistible powers of gentle persuasion brought him long-term support from the Cavendish Professor of Physics at Cambridge, Sir Lawrence Bragg, and from the Secretary of the Medical Research Council, Sir Edward Mellanby, in setting up a Medical Research Council Unit in 1947 for his work. He communicated ideas with extraordinary clarity and simplicity. Though he retained a strong Austrian accent, his written English was always elegant, compelling and stimulating He seemed to write with a golden pen. He had a wonderful way of leading research, leaving his staff with the feeling they were free to decide their own way forward, while he created a vision of the long-term goals. And he had uncanny insight into the potential of young researchers seeking to work with him.By the early 1950s he had drawn together an extraordinary group of people.