Mark Rylance and Derek Jacobi Discuss “Reasonable Doubt” about the Stratford Man as “Shakespeare”

These two great actors are so enjoyable to watch and listen to!  They deserve our thanks and our respect…


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6 CommentsLeave a comment

  1. Thanks for this. I notice the distinct collegial tone of the master actors, out-plumming the poshy prestigious purveying the purple poppycock. The Renee Montagne segment on NPR is a bit more aggressive, in a nice way always, keeping the temperature cool. They are still staking their reps, taking snoots and coughs from the respectable echelon. And good for Renee Montagne staying with the story for which she received an award at (search your back files for this reference) “Concordia’s University’s Shakespeare Authorship Research Centre.”

    • Thanks — I must catch up with Renee’s interview, too.
      Hope your work on the Folio engraving is published and widely read!

  2. Hi Hank,

    I watched this video this morning and I was curious… Who does Mark think composed the works? Is he a group theorist? Clearly Sir Derek is an Oxfordian, but I have yet to discover who Mark believes wrote the works! Have you discussed this with him?

    Hope you are well!! ~Chris

    Sent from my iPhone


    • Although you asked Hank, but I can show you a link with your question and with the reply from Mr. Rylance:

    • Hi Chris – I had meant to get to this sooner. Anyway, Mark began his anti-Stratfordian life as a Baconian, having read some of that material first, I believe. (I have the main source he used, but don’t have immediate access to it.) But for him it has always been the deep actor’s knowledge, playing Hamlet some 400 times, and other roles, that this was the voice of someone well versed in the court, in Italian sources, and so on. He’s quite open to Oxford, of course, and both he and Jacobi mentioned the earl and the parallels with aspects of his life. I don’t think Mark is a group theorist. (But of course Oxford had a group around him, of writers and musicians and so on, and I think of it somewhat like Michelangelo’s studio, which had but one master (and in the case of Shakespeare works, one voice through many characters — a single strong voice that one begins to hear as distinct from all the others).

      Sandy, thanks for that link. I have yet to look at the Guardian piece, but will try to read it soon.

      • Hank, welcome. As to Mark, I tried to contact him, through his very kind assistant lady – no success. From my experience I see that people of the Theatre (compared to scholars of iterature) are much more open to my hair-rising results.

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