Mark Rylance reigns in Shakespeare double bill

Associated Press Published: November 19, 2012
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LONDON (AP) — In his last stage role, Mark Rylance thrilled audiences as a bawdy bard for modern Britain. Now he's going back to an earlier Bard in a vibrant William Shakespeare double bill.

Rylance's star turn in "Jerusalem," Jez Butterworth's raucous lament for rural England, brought him best-actor trophies at London's Olivier and New York's Tony awards.

His latest London performances are hot tickets, and not just because Rylance is one of Britain's leading Shakespearean actors. It's a chance to see him in two wildly contrasting roles — the scheming usurper dispatching everyone who stands between him and the throne in "Richard III," and the aloof countess Olivia, blindsided by love, in the boisterous comedy "Twelfth Night."

Directed by Tim Carroll, the plays were staged this summer at Shakespeare's Globe, a replica of the open-air playhouse founded by the playwright and his acting troupe in 1599. They are "original practices" productions that try to remain faithful to 400-year-old staging techniques — an approach championed by Rylance when he was the Globe's artistic director between 1995 and 2005.

Now the plays have moved indoors, to a traditional West End theater, without compromising on the quest for Elizabethan authenticity.

The sets recreate a paneled, candlelit hall like those where Shakespeare's plays were performed during winter months. The doublets and dresses worn by the cast are made from hand-stitched linen, wool and silk, while the music is played live on lutes, tabors and other period instruments. And actresses are absent — all the roles are played by men, as in Shakespeare's time.

There's an argument against such productions — there aren't enough good classical roles for women at the best of times. But this double bill demonstrates that the slight alienation created by an all-male cast can enrich the theatergoing experience.

It takes a few minutes — but only a few — before the male actors disappear into the female characters, and before the 21st century theatergoer adjusts to some unaccustomed elements: the house lights remain partially up throughout the performance, and special effects are rudimentary.

The result is an open acknowledgment of the plays' artificiality that becomes exciting when combined with a clear and thoughtful delivery of Shakespeare's lines and energized by Rylance's powerhouse performances.

His Richard is more of a clown, more ingratiating and more uncertain than in many interpretations — a far cry from Kevin Spacey's menacing media manipulator in a recent Old Vic production. Wheedling and mugging, he invites the other characters, and the audience, to laugh at and underestimate him.