Mark Rylance is crucial to all this. The rest of Butterworth’s colourfully off-kilter characters, too, are brought to life by a truly impressive cast. The intricate tapestry of Butterworth’s engrossing drama is the fabric that ties together these moments of unforgettable artistry.
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Mark Rylance lets the old magic flow once again. ‘Jerusalem’ remains fresh and unexpected. In a weird way, its legend contributes to that.
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Together, this exemplary ensemble give us a breath-taking portrait of backwater England that roves from the profane to the sublime, a crucial theatrical rite, fit for the ages.
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Does Jerusalem deserve this revival? Unquestionably, yes. You could watch this play, and Rylance’s performance, every night of the too-short run and still find new dimensions to wonder at.
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[Rylance's] performance is such a wonder it's hard to describe. Every nuance is felt; his identification with the character so strong that he simply is. But the strength of the production is the way that the new group of youngsters who surround Rooster. It is quite simply just wondrous.
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In this revival ... all the old magic is intact and potent as ever. Perhaps it overly romanticises its drug-peddling hero, but with Rylance in the role, its spell is irresistible.
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Jerusalem is the greatest play and Mark Rylance’s performance the greatest performance of the year. Of the decade. Of the 21st century. For all its interplay of past and present, reality and myth, it’s a phenomenal piece of theatre.
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Rylance’s titanic performance as the gypsy Rooster really is one for the ages. Wild and whimsical, uproarious and desolate, Butterworth’s play is still a mighty force of irrepressible live theatre.
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