As the Globeís artistic director and its Cleopatra, Mark Rylance reveals his own ëinfinite varietyí

Mark Rylance, artistic director of Shakespeareís Globe Theater in London, occasionally concludes his correspondence with a fanciful flourish: "Yours from a many-sided round place." This fusion of simplicity and allusiveness ñ referring to the 20-sided reconstructed Elizabethan "wooden O" theater itself as well as to the associated educational, social and cultural facilities provided by the Globe Trust, which oversees the entire project ñ neatly characterizes the mercurial man in whose hands the enterprise rests. In just over three years at the Globeís helm Rylance, 39 ñ as administrator, director, actor, fundraiser and, above all, motivator - has proved himself as many-sided as his theater. Now even his feminine side is taking its turn in the spotlight : in this seasonís most intriguing piece of casting, Rylance plays the eternally enigmatic Egyptian queen, Cleopatra.

As both Helen Mirren and Frances de la Tour have recently played Antonyís licentious lover before U.K. audiences, Rylance gives little credence to the argument that that he is depriving an actress of a classic role. In fact, fans of both sexes have eagerly awaited this Jacobean-dress production ñ which continues to Sept. 26 ñ because Rylance is regarded by many as the best actor of his generation.

Prior to his arrival at the Globe, the English-born, American-bred actor was famed for his outlandish and often outstanding interpretations of Shakespearean roles, from a pajama-clad Hamlet to a Northern Irish Benedick. Today, working with scholars and expert craftspeople to explore how plays were costumed, performed, produced and watched in Shakespeareís time is fundamental to his role as artistic director. But Rylance insists he is not playing Cleopatra just because it was standard practice for men to play women 400 years ago. To him, the primary authenticity has to be creative. "Iím having a really good time being Cleopatra...and respond to her playful soul," he says. "But itís the basic element of theater, of an actorís will to believe in and be something else, that makes it pleasurable to me."

Alongside his talents as an actor, Rylance is known for his unorthodox beliefs about the true provenance of Shakespeareís plays (Bacon, anyone?) and his interest in their use of symbols derived from alchemy and the Jewish mystical tradition of the Cabala. But there is no space for preconception, even Rylanceís own, at the Globe. Here, the play is the thing. "He does a tremendous amount of research," says Giles Block, director of Antony & Cleopatra, "but in rehearsal itís all there to be stripped down and played with." Keeping things simple is no easy option, though. "The study of original playing practice is a radical choice," observes Claire van Kampen, the Globeís music director and Rylanceís wife. "Respecting the possible, doing a play without lights or sets, with real Elizabethan clothes and period music, takes real discipline."

During his first three years as artistic director Rylance appeared on stage sparingly, concentrating instead on building a team of collaborators and establishing a solid audience base while keeping ticket prices affordable. The $48 million project to build the main theater and a large exhibition space received a one-off $20 million government grant, with the balance coming from corporate sponsorship and private fundraising. Millions more were needed to complete the planned construction of a second Inigo Jones-designed theater and a research library, so it is crucial that the main theater can run without subsidy.

Rylanceís decision this year to direct for the first time (he chose Julius Caesar, and a period setting) and to play Cleopatra signals a readiness to take more personal risks now that the pressures of the launch have eased. He recently singed a new contract as artistic director taking him through December 2001, and although the lineup for the 2000 season is still under wraps Rylanceís aims include continued improvements in verse speaking, casting women in male roles and treading more boards himself. "Iíve realized that Iím not happy when I donít act," he explains. "Playing a Shakespearean scene on that stage is so much fun."

Real life isnít always as pleasurable, though. From its inception, the reconstruction of the Shakespearean theater by the Thames has been eyed suspiciously by detractors convinced it would become a Tudor theme park for tourists. Persistent problems on stage (uneven acting, inaudible verse, overly populist interpretations, audience heckles) have also led to some harsh reviews. Rylance admits to feeling frustrated by the lack of support at times, but he also regards such knocks as a form of encouragement. "Of course Iíd prefer all responses we got were deeply involved in the story being told, but it is healthy that they are trying to pull us down," he says. "To my mind it is the inevitable effect of 200 years of turning Shakespeare into an icon. We have to learn again how much faith we can put in a audience."

It turns out that Rylance has plenty to teach others about keeping the faith, as the Globe is now enormously successful ñ an self-supporting. Last year, the theaterís turnover reached $3.5 million, thanks to the 211,000 people who visited the 1,600 capacity open-air venue. The 1999 season looks set to top that, which would be an appropriate way to celebrate the 400^th anniversary of the original Globeís opening.

A willingness to try everything and make mistakes is the cornerstone of Rylanceís approach. Matthew Warchus, the director of the long-running West End comedy Art who has worked with Rylance several times, praises both his "consummate marriage of internal reality and complete theatricality" as an actor, and also a quality that sometimes leads him astray, but always for the right reasons. "Mark is simply not cynical. I enjoy all his work, successful or not, because he has an enviable sense of play," says Warchus. "He is a genuine catalyst and to have him at that extreme is important for us all." Indeed, Rylance still thrills to the proximity of the Globe audience and the exhilaration of leading them through the dramatically different Globe experience. "I played Hamlet 300 times (in other theaters) and only ever saw the front row," he explains. "Here we reconnect with an audience, and with what it is to be an actor." Or actress, in the case of Cleopatra.

Rylanceís gender gamble certainly seems to be paying off; the critics have been generous, the production is selling out, and in performance it is clear he has no problem convincing the gallery and groundlings that he is Queen of the Nile. His characterization of Cleopatra ñ part flirtatious filly, part petulant child ñ mines a rich vein of humour in this tragi-comic tale, and though his swinging hips and darting runs occasionally display a touch of landlady swagger, Rylanceís uncanny ability to cut the emotional quick of a scene is impressive. The production has its drawbacks ñ more than a few dud performances and a predilection for sound and fury over quiet revelation ñ but overall it is (backache aside) a highly enjoyable way to pass a summerís eve.