But they’ll have to convince us that it’s safe to work with them first (Picture: Simon Annand)
In person, Mark Rylance can be as unpredictable as he is on stage. Our conversation should mostly be about his latest role, the 19th century maverick doctor Ignaz Semmelweis.
In Stephen Brown’s new play, first seen at Bristol Old Vic, the real life eponymous flawed hero pioneers the practice of handwashing in hospital, saving countless lives.It is a tale well-suited to our pandemic times.
But as Mark and I sit in a cosy room in the Harold Pinter Theatre, we cover such wide-ranging subjects as Extinction Rebellion (he admires most of them but not those who alienate the people they are trying to change);how Mark lost all hope that he could be a movie actor when Michael Stuhlbarg pipped Mark to the starring role in the Coen brothers’ film A Serious Man; and about Kevin Spacey, A-list actor currently in court over sexual offences.
The Spacey digression is my fault.Rather clumsily I am comparing Mark with Spacey because although the actors are very different, both are – or in Spacey’s case were before his career nosedived – talents that could be described as unique.
I want to know whether these qualities are innate or carefully cultivated.
‘Everyone’s got a particular vibration,’ explains Mark a little gnomically. ‘Why can you immediately hear it’s Mozart; how do you know it is the Rolling Stones even before Mick Jagger is singing; why can you immediately see that the painting you are looking at is a Rembrandt?’
Dr Semmelweis will be Mark Rylance’s first West End production since reprising Rooster in Jerusalem (Picture: Simon Annand)
Fair enough. But like Mark, these are artists at the very top of their field. Below them others may do good or even excellent work but most are replaceable by one of their peers. That is not the case with Mark.
Take his Oscar-winning turn in Spielberg’s movie Bridge Of Spies, his brilliant gender-swapped Olivia in the 2012 Shakespeare’s Globe production of Twelfth Night or his mesmerising Johnny ‘Rooster’ Byron in Jez Butterworth’s Jerusalem.
All are landmark productions in which it is impossible to imagine anyone else playing the roles, especially in the case of Rooster the Wiltshire hellraiser.
Is he tempted to turn the smash hit into a film? ‘Not with me. I never want to film it,’ says Mark emphatically.But yes, ‘of course’ he has been asked.
‘It would be like pinning a butterfly. I’d rather play it as long as I can [in the theatre],sitting in that chair at 80, if only to torture the 75-year-old Mackenzie [Crook, Rylance’s co-star],’ jokes Mark.
With Spacey’s name still in the air I ask if Mark thinks the House Of Cards star can ever make a comeback. There is a pause that Pinter would be proud of.
‘As an actor I used to go to Broadmoor Hospital,’ replies Mark.
‘We helped people come to terms with what they did, which was usually killing someone they loved. We helped them understand their triggers, come through the dangers of suicide and eventually move back into society. If we can do that for murderers and arsonists, can’t we do that for brilliant artists?’
Other disgraced powerful men in the business might also deserve a second chance, says Mark, such as the producer Scott Rudin who resigned after bullying accusations. ‘There are things he has to change [but] he is an amazing storyteller of our age. And with Kevin, there are things he has to change, too.’
Mark Rylance doesn’t consider taking a role unless it’s something only he can do (Picture: Simon Annand)
Harvey Weinstein? ‘Good question. All these people have to convince us that it’s safe to work with them. But I do think that people should be given another chance.’
Dr Semmelweis will be the actor’s first West End production since he reprised his Rooster.
Though Semmelweis and Rooster couldn’t be more different they are both mavericks who fight against the establishment. Is that revolutionary impulse the quality he looks for when choosing his next role?
‘I get offered a lot of things. But my wife [the composer and director Claire van Kampen] tells me to think carefully and ask myself, “Is this something someone else could do?” If it is they don’t really need me.’
Dr Semmelweis is at the Harold Pinter Theatre, London, until October 7, tickets can be booked: Here.
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The actor used to go to Broadmoor Hospital to help people come to terms with their crimes.
