Charles Dance, a name synonymous with a commanding screen presence and a voice that resonates with authority, recently sat down for an interview in a charming French bistro in Islington Green, North London. At 76, Dance embodies a captivating paradox: a face sculpted with aristocratic severity softened by an affable and expansive demeanor. His easy confidence and ready laughter speak of a man genuinely enjoying his craft. “I get paid pretty well. Something has to be really bad for me to turn it down, otherwise I keep on doing it,” he confessed, highlighting his enduring passion for acting.
The bistro staff clearly adore him, a testament to his approachable nature despite his on-screen gravitas. A waiter, upon learning of the interview, remarked that Dance was the second “Lannister” he had served that day, referencing Dance’s iconic role as Tywin Lannister in Game of Thrones. The identity of the other Lannister remains a playful mystery, closely guarded by the discreet waiter.
Dance’s inclination to discuss others—their thoughts, careers, and passions—initially dominated the conversation. There was a moment where the interviewer jokingly feared learning more about Paul Scott, author of The Jewel in the Crown, or Terry Hands, the celebrated Royal Shakespeare Company director, than about Charles Dance himself. However, the focus was skillfully steered back to the man of the hour, revealing layers beneath the often-perceived aristocratic facade of Charles Dance.
“People think I’m aristocratic because of the way my face is put together, but I’m not,” Dance clarified, dismantling assumptions about his background. “My mother was a servant at the age of 13; came from Bethnal Green.” This revelation underscores a central theme interwoven throughout Charles Dance’s career: the complexities of the British class system. While his physical presence often embodies the ruling class, Dance deftly navigates roles that explore the nuances of class, power, and societal expectations. Whether in Gosford Park, The Crown, or Game of Thrones, Charles Dance consistently leaves an indelible mark, shaping the atmosphere of each piece with his nuanced performances.
Charles Dance’s portrayal of Tywin Lannister in Game of Thrones series one, aired in 2011, showcasing his commanding presence and ability to embody complex, powerful characters. Photograph: AJ Pics/Alamy
The primary reason for this meeting was to discuss Rabbit Hole, a new Paramount+ series starring Kiefer Sutherland. This political thriller marks a slight departure for Charles Dance, offering a rare glimpse of him in a role that involves more overt menace, including, as the interviewer notes, threatening to cut off fingers. Dance, having watched the initial episodes, seemed receptive to the interviewer’s positive feedback on the subsequent ones. When asked if the interviewer would offer honest criticism, the playful skepticism in Dance’s response quickly gave way to agreement about the show’s engaging nature. “It’s not passive viewing. You can’t slump back with a bowl of crisps and a beer – you have to lean forward,” Dance asserted, emphasizing the series’ demand for active engagement.
Rabbit Hole tackles weighty themes of data acquisition and political manipulation with a light, almost magical realism touch. Dance’s perspective on the current state of television reflects a seasoned professional’s viewpoint. He expresses a modest appreciation for the overall quality of contemporary streaming content. “With the advent of streaming, the appetite for product is extraordinary. I’m surprised there’s not more crap out there; so much is being made. But it seems to me that the standard of most things now is phenomenal,” he observed, acknowledging the high bar set in the streaming era.
His enthusiasm extends beyond his own projects, readily praising shows like Ozark and Godless, and even expressing an interest in LBC phone-in radio. This wide-ranging appreciation reveals Charles Dance as a man genuinely curious and engaged with the world around him.
From Worcestershire School Plays to the Royal Shakespeare Company
Born in Worcestershire, Charles Dance’s early life hinted at his future in performance. He attended a primary school, pointedly “not a prep school,” where he discovered a love for school plays. His father’s early death when Dance was just three left him with scant memories, but his mother wholeheartedly supported his acting ambitions, recalling his father’s talent for “musical recitations.” A medal awarded to his father for elocution became a tangible link to this paternal artistic influence.
However, Charles Dance’s path to professional acting wasn’t straightforward. He attended a technical grammar school geared towards preparing boys for shipbuilding careers in Plymouth dockyard. “Very science-based – it was schooling boys to go into the dockyard in Plymouth and work on ships,” he recalled. He left with just two O-levels, in English and art, admitting, “I knew nothing about Shakespeare.”
A stammer developed during his teenage years further complicated his aspirations. This impediment made stage performance seem impossible and even hindered social interactions. “It’s horrible. And I could never be seen to be a stammerer. I’d have to make up the most complicated sentences to get round the words I couldn’t manage,” Dance explained, highlighting the frustration and self-consciousness it engendered, particularly during “girlfriend time.”
Art school in Leicester followed, though without deep passion. To finance acting lessons, Charles Dance worked on a building site. His mentors were “two old dudes in Devon called Leonard and Martin,” who traded acting wisdom for pints of mild ale. He fondly remembers this period, emphasizing the invaluable mentorship he received: “The relationship between wise old men and young men who are willing to learn is a wonderful thing. I was very, very lucky that I knew those two.”
His early acting career involved touring in a play with a provocative title, It’s a Two Foot Six Inches Above the Ground World. He wryly explained the title’s allusion to the average height of genitalia from the ground. Breaking into the Royal Shakespeare Company (RSC) was a significant milestone. “I could have sobbed,” Dance admitted, describing his overwhelming joy. “I was overjoyed. I didn’t come from money, I didn’t come from a theatrical family.”
Charles Dance in White Mischief, a 1987 film that showcased his ability to portray complex characters in visually stunning settings, further solidifying his reputation as a versatile actor. Photograph: Moviestore Collection/Alamy
RSC Years and the Dawn of Screen Success
Charles Dance spent five formative years at the RSC from 1975. Under the joint artistic directorship of Trevor Nunn and Terry Hands, a class-based divide subtly influenced casting. “You were either a Terry actor or a Trevor actor,” Dance observed. Trevor Nunn favored actors perceived as “posh,” while Terry Hands leaned towards those from less privileged backgrounds. Charles Dance identified as a “Terry actor,” thriving in a variety of roles that took him across Europe and to the United States.
During this period, he married sculptor Joanna Haythorn in 1970, and they welcomed a son, Oliver, in 1974, followed by a daughter, Becky, in 1980. Despite the demands of theatre life, Dance cherished the moments of theatrical transcendence. “When theatre goes well,” he reflected, “it’s fantastic. You think: I’m right there. I’ve only ever felt like that about three times. And that’s wonderful.” He acknowledged the rarity of such peak experiences, adding, “It’s often nearly there!”
The Jewel in the Crown: A Breakthrough Role
The 1984 television adaptation of The Jewel in the Crown catapulted Charles Dance to widespread fame. The series, set during the final days of British rule in India, became a cultural phenomenon. Its epic scope and lavish production values captivated audiences and launched the careers of several actors, including Art Malik, Tim Pigott-Smith, and Geraldine James. In an era with fewer television options, The Jewel in the Crown commanded significant attention.
Despite the transformative impact of this role, Dance remained grounded. His agent initially cautioned against taking the part, deeming it “too grand” for him. Dance had to audition extensively to secure the role of Sergeant Guy Perron. Although his character didn’t appear until the latter part of the series, The Jewel in the Crown proved to be a resounding success, solidifying Charles Dance’s place in the public consciousness.
Charles Dance in his breakthrough role as Sergeant Guy Perron in The Jewel in the Crown (1984), a performance that established him as a leading man and quintessential British actor for a wider audience. Photograph: Everett Collection/Alamy
While The Jewel in the Crown introduced Charles Dance to a broader audience and often typecast him as the quintessential British hero, he modestly downplays this perception. “I’ve never felt I arrived as a leading man. I’ve never fronted anything,” he stated, before recalling First Born, a series where he played a scientist creating a human-gorilla hybrid, as a possible exception.
Dance’s prolific career is driven by a simple motivation: “The problem is, I just like working, so I’m perhaps not as choosy as I could have been.” This work ethic, however, doesn’t mean he accepts every role blindly. Famously, he was considered for the role of James Bond in the mid-1980s after Roger Moore’s departure. Contrary to rumors, Charles Dance didn’t turn down James Bond. His agent advised against even auditioning, fearing rejection would be detrimental to his career. “She was probably right. If I’d got it, I would have probably fucked it up,” Dance humorously conceded.
Film, Directing, and Game of Thrones
By the late 1980s, Charles Dance was a fixture in British cinema. 1987 alone saw him appear in White Mischief, Good Morning Babylon, and Hidden City. He professes a preference for filmmaking over theatre, appreciating the transient community of a film set. “I like that community – it’s like the circus coming to town. Everybody gets to know each other very, very quickly – it’s just a great feeling. The smell of a film set – there’s nothing like it,” he reminisced.
In 2004, Charles Dance ventured into writing and directing with Ladies in Lavender, starring Judi Dench and Maggie Smith. This film, centered on two elderly sisters in Cornwall, became a surprise success. “That was one of the few films that gave the UK film council a return on its investment, though I say it myself,” he noted with a touch of pride. He attributes its charm to its simplicity and the stellar performances of its lead actresses. “It was charming. It didn’t move mountains, cinematically – it was just a sweet little film about two old ladies living in Cornwall. Fortunately, I had Judi Dench and Maggie Smith. I could have shot the telephone directory.”
Charles Dance directing Judi Dench on the set of Ladies in Lavender (2004), showcasing his versatility as a writer and director in addition to his acting career. Photograph: Cinematic Collection/Alamy
Game of Thrones in 2011 introduced Charles Dance to a new generation of viewers unfamiliar with The Jewel in the Crown. The global phenomenon caught everyone by surprise. “I had no idea where it was going to go,” Dance admitted. “None of us had any idea that it was going to be the most successful television series ever made. Especially as the pilot wasn’t great. If it had been made by the BBC, they would have pulled the plug. But Sky and HBO nursed it and we began to be aware that we were dealing with a pretty class act. I still had no idea that it would become this charming monster.” His portrayal of Tywin Lannister became iconic, further cementing his reputation for portraying complex, powerful figures.
Personal Life and Enduring Passion for Acting
Divorced in 2004, Charles Dance later had a daughter, Rose, in 2012 with artist Eleanor Boorman, though they separated the same year. He currently maintains a relationship with film producer Alessandra Masi, whom he met on the set of The Book of Vision in 2018. His affection for Masi is evident in his warm descriptions of her, highlighting her independent spirit and zest for life.
Despite a career spanning decades, Charles Dance shows no signs of slowing down. He estimates having worked on “six or seven jobs” in the past two years, a pace reminiscent of his post-Jewel in the Crown heyday. He dismisses any suggestion of slowing down with characteristic humility and gratitude. “I’m lucky enough to do a job that I love,” he concluded. “There are many, many people who do jobs to put food on the table and pay the bills. And there is always a bit of me that feels guilty when I turn down work. I think: who am I to say no?” This enduring passion and sense of gratitude underscore the remarkable career of Charles Dance, an actor whose aristocratic bearing and versatile talent have captivated audiences worldwide.
Rabbit Hole is available to stream on Paramount+
