Charles Dance, a name synonymous with gravitas and compelling performances, continues to captivate audiences worldwide. At 76, his distinguished presence and sharp intellect are as captivating as ever, traits that have defined his illustrious career from the stages of the Royal Shakespeare Company to the grand sets of Hollywood. Meeting Dance in a charming Islington bistro, one immediately senses the relaxed confidence of a seasoned professional who still finds immense joy in his craft. He embodies a rare combination of seriousness and approachability, a demeanor that has made him a beloved figure both on and off screen.
The restaurant buzzes around him, yet Dance remains unfazed, engaging in easy conversation. The staff clearly adore him, a testament to his affable nature. A waiter later reveals that Dance was the second Lannister to grace the establishment that day, a humorous nod to his iconic role as Tywin Lannister in Game of Thrones. This anecdote perfectly encapsulates Dance’s enduring appeal and the diverse roles that have cemented his place in popular culture.
Dance possesses a remarkable ability to deflect attention from himself, preferring to discuss the work and merits of others. His conversation meanders through insightful reflections on figures like Paul Scott, the author who penned The Jewel in the Crown, a pivotal work in Dance’s early career, and Terry Hands, the visionary director from his formative years at the Royal Shakespeare Company (RSC). He also speaks fondly of Ben Kingsley, a contemporary he clearly admires. It takes a conscious effort to steer the conversation back to Dance himself, not because he is reticent, but because he is genuinely more interested in the world and the people around him.
“People assume I’m aristocratic because of my features, but my background is quite different,” Dance remarks, dispelling any preconceived notions about his lineage. “My mother was a servant from Bethnal Green, starting at just 13.” This revelation underscores the significant role of the British class system in shaping Dance’s career and public perception. While his physical presence often leads him to portray characters of nobility and authority, his roots are firmly grounded in working-class origins. This duality has perhaps enriched his performances, allowing him to bring depth and nuance to roles that might otherwise be one-dimensional. Whether embodying the aloof patriarch in Gosford Park, the regal figure in The Crown, or the formidable Tywin Lannister in Game of Thrones, Dance consistently leaves an indelible mark, shaping the very atmosphere of each project.
Charles Dance as the imposing Tywin Lannister in the early seasons of HBO’s Game of Thrones, a role that showcased his commanding screen presence.
Our meeting’s primary purpose is to discuss Rabbit Hole, the new Paramount+ series starring Kiefer Sutherland. This project marks a slight departure for Dance, offering a role where he is, as described, “threatening to cut off anyone’s fingers.” Having already watched the initial episodes, Dance is keen to gauge an honest reaction. When praised for the series, he responds with a skeptical yet good-natured, “Would you tell me if you didn’t?” before admitting, “It’s not passive viewing. You can’t slump back with a bowl of crisps and a beer – you have to lean forward.” This aptly describes the show’s engaging and complex narrative.
Rabbit Hole is a political thriller interwoven with elements of magic realism, tackling the pertinent issue of personal data misuse for political manipulation. Dance approaches the subject with a characteristic old-school modesty. He acknowledges the show’s quality and Sutherland’s compelling performance but extends this praise to the current landscape of television in general. “With streaming services, the demand for content is incredible. It’s surprising there isn’t more poor quality material given the sheer volume of production. But it seems to me that the standard of most things now is phenomenal.”
His enthusiasm spills over as he enthusiastically recommends series he admires, ranging from the gripping money-laundering drama Ozark to the western Godless and even LBC phone-in radio shows. Dance is, at heart, an enthusiast, genuinely passionate about storytelling and performance in all its forms.
Born in Worcestershire, Dance’s early education took place in what he pointedly clarifies was a “primary school, not a prep school.” His early affinity for performance blossomed in school plays. Tragically, his father passed away when Dance was only three and a half, leaving him with scant memories. However, his mother wholeheartedly supported his acting aspirations, recalling his father’s own passion for “musical recitations.” Years later, Dance received his father’s elocution medal from a Welsh festival, a poignant connection to a paternal artistic inclination he barely knew. His mother’s unwavering encouragement, even if it occasionally overshadowed his stepfather, played a significant role in nurturing his early ambitions.
Dance’s path to professional acting was not straightforward. He attended a technical grammar school geared towards preparing boys for shipbuilding careers in Plymouth’s dockyard. “Very science-based,” he recalls. “I left with just two O-levels – English and art. Shakespeare was completely foreign to me.” This academic background, far removed from the arts, highlights the self-made nature of his acting career.
During his teenage years, Dance developed a stammer, a significant obstacle for someone aspiring to perform. This impediment not only hindered his stage aspirations but also impacted his social interactions, particularly with girls. “It’s horrible,” he explains. “And I was determined to hide it. I’d construct incredibly convoluted sentences to avoid words I couldn’t pronounce. Dating was a nightmare. All the things I wanted to say were trapped. You could see their eyes just glaze over during my elaborate sentences.”
He enrolled in art school in Leicester, though his heart wasn’t truly in it. To finance acting lessons, he took on construction work, learning from two seasoned actors in Devon, Leonard and Martin. In exchange for pints of mild, they shared their insights on dramatic arts, from Shakespeare to method acting. “The mentor-mentee relationship between experienced older men and eager young learners is invaluable. I was incredibly fortunate to have them in my life.” These formative lessons were crucial in shaping the young Charles Dance’s approach to acting.
His first professional acting role was in a touring production titled It’s a Two Foot Six Inches Above the Ground World. “The title refers to the average height of a person’s genitalia from the ground,” he explains with a wry smile, leaving the audience to interpret its deeper meaning. Gaining entry into the Royal Shakespeare Company was a hard-won achievement. “I could have wept with joy,” he admits. “I was overjoyed. I didn’t come from a wealthy background, nor a theatrical family.” This marked a pivotal moment in young Charles Dance’s journey, validating his dedication and talent.
A younger Charles Dance in White Mischief (1987), showcasing the sophisticated charm he brought to period dramas early in his film career.
Dance spent five transformative years at the RSC from 1975 onwards. Under the joint artistic directorship of Trevor Nunn and Terry Hands, a subtle class division existed within the company. “You were either a Terry actor or a Trevor actor,” Dance recalls. Nunn’s actors were perceived as more “posh,” while Hands’ company was seen as less so. Dance identified as a Terry actor, touring extensively across Europe and the US. During this period, he married sculptor Joanna Haythorn in 1970, and they welcomed their son Oliver in 1974 and daughter Becky in 1980. Reflecting on the magic of live theatre when it truly clicks, he says, “it’s fantastic. You feel utterly present. I’ve only experienced that profound connection about three times in my entire career. And that’s truly wonderful.” He clarifies that while perfection is rare, the pursuit of that feeling is what drives him.
The role that catapulted Charles Dance into household recognition was Sergeant Guy Perron in the television adaptation of The Jewel in the Crown. The 1984 drama, set against the backdrop of the waning British Raj in India, garnered immense attention. Its epic scale and lavish production values 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 became a cultural phenomenon. “My agent initially advised against it, deeming it ‘too grand’ for me,” Dance recounts. “I think I had to audition extensively to convince them. Thank goodness I did. But my character didn’t appear until the final episodes, and I worried viewers might have lost interest by then.”
Charles Dance in his breakthrough role as Sergeant Guy Perron in The Jewel in the Crown (1984), the role that introduced a younger generation to his talents.
The Jewel in the Crown not only introduced Charles Dance to a broader audience beyond theatregoers but also solidified his image as a quintessential British leading man. However, Dance modestly disputes this transformation. “I’ve never considered myself a leading man in the traditional sense. I’ve rarely been the sole focus. Well, there was First Born, a series where I suppose I was the lead.” (In First Born, he played a scientist who creates a human-gorilla hybrid, a testament to the diverse roles he has embraced).
“The truth is, I simply enjoy working, perhaps making me less selective than I could be,” he reflects. However, there are limits. Famously, he was rumored to have turned down the role of James Bond in the mid-80s after Roger Moore’s departure. “No, of course I didn’t turn down James Bond!” he clarifies. “My agent advised against auditioning. She argued that the potential rejection could severely damage my career. She was likely right. Had I been cast, I might have even ruined it.” So, while not a rejection of the role itself, he heeded his agent’s counsel and didn’t pursue the audition. He maintains that he only declines projects he deems truly subpar.
By the late 1980s, Charles Dance had become a fixture in British cinema. In 1987 alone, he appeared in three memorable films: White Mischief, Good Morning Babylon, and Hidden City. He expresses a preference for filmmaking over theatre. “I love the sense of community on a film set – it’s like a traveling circus. Everyone bonds quickly – it’s a wonderful feeling. And the distinct smell of a film set… it’s unique.”
Dance ventured into writing and directing with the 2004 film Ladies in Lavender, starring Judi Dench and Maggie Smith. The film, a gentle and poignant story of two elderly sisters in Cornwall, became a surprise success. “It was one of the few films that actually generated a return for the UK Film Council, if I may say so myself,” he notes. “It was charming. Not cinematically groundbreaking – just a sweet, small film. Fortunately, I had Judi Dench and Maggie Smith. I could have filmed the telephone directory and it would have been watchable.”
Charles Dance directing Judi Dench on the set of Ladies in Lavender (2004), a film he wrote and directed, showcasing his versatility beyond acting.
When Game of Thrones premiered in 2011, it introduced Charles Dance to a new generation unfamiliar with The Jewel in the Crown. “I had no inkling of its future trajectory,” he admits. “None of us anticipated it becoming the most successful television series ever. Especially considering the pilot wasn’t particularly strong. Had it been a BBC production, it might have been cancelled. But Sky and HBO nurtured it, and we gradually realized we were part of something exceptional. Even then, I couldn’t have foreseen its monumental success.”
Divorced since 2004, Dance entered into a relationship with artist Eleanor Boorman. They had a daughter, Rose, in 2012 but separated the same year. “I don’t see Rose as much as I’d like, unfortunately, but that’s life,” he says with a touch of resignation. He has been in a relationship with film producer Alessandra Masi since meeting on the set of The Book of Vision in 2018. On the day of the interview, Masi was filming in Italy. He speaks fondly of her, highlighting her energy and zest for life. Even in casual conversation, his genuine appreciation for people shines through.
Does Charles Dance ever contemplate slowing down? He mentions having worked on six or seven projects in the past two years, a pace reminiscent of his busy period following The Jewel in the Crown. He dismisses any notion of fatigue, attributing his continued drive to gratitude and passion. “I’m fortunate to do a job I love,” he concludes. “Many people work simply to make ends meet. And a part of me always feels guilty when I decline work. I think, ‘Who am I to say no?’” This enduring work ethic and deep-seated gratitude are hallmarks of Charles Dance’s remarkable and enduring career.
Rabbit Hole is available to stream on Paramount+
