Remembering Leonard Rossiter’s Unforgettable Stage Presence

Leonard Rossiter’s portrayal of a gangster Hitler in Bertolt Brecht‘s “The Resistible Rise of Arturo Ui” was a defining moment in his career, transforming him into a theatrical star. From his earliest roles, Rossiter showcased an expressive force that lingered long after the curtain fell. Known for his physically compelling performances, Rossiter drew attention with his role as Fred Midway in David Turner‘s play “Semi-Detached” at the Belgrade Theatre in Coventry in 1963. In contrast to Laurence Olivier‘s understated performance in London, Rossiter injected a dynamic, aggressive energy into the character, resembling a “manic Midlands Machiavel,” as observed by critics at the time.

Rossiter’s fame skyrocketed following his role in “The Resistible Rise of Arturo Ui,” opening in Glasgow in 1967 under the direction of Michael Blakemore. The production eventually reached London, despite initial skepticism towards Brecht’s works. The play, which draws parallels between the Nazi regime and Chicago gangsters, presented Rossiter with a complex character of Hitler whom he transformed with a blend of menace and absurdity. His entrance alone, featuring a leap through a circus-like screen, captured audiences with its comic flair as papers humorously clung to his teeth.

Throughout the play, Rossiter exhibited his talent for intertwining ferocity and farce. His ability to seamlessly blend terrifying and comedic elements was highlighted during a scene in which his character, Arturo, takes lessons in decorum from a seasoned actor. Rossiter’s improvisation during these lessons culminated in an accidental depiction of the first Nazi salute, blending historical gestures with brilliant comedic timing.

In an interview, Rossiter revealed a personal disconnect with Brecht’s political ideology, despite portraying a character inextricably linked with it. This paradox exemplifies Brecht’s theory that actors should act as a medium between the audience and the text, a principle Rossiter unwittingly embodied throughout his career. This approach was evident in his portrayal of roles like the tramp in Harold Pinter’s “The Caretaker” in 1972, where he diverged from Donald Pleasence’s naturalistic performance by infusing his character with a distinctive sense of embellishment and escapism.

Rossiter’s remarkable ability to portray characters gripped by obsessive fantasies was consistent throughout his career. In Michael Frayn’s 1980 play “Make and Break,” he portrayed a workaholic salesman bound to his trade with compelling intensity. His last stage performances included his role as Inspector Truscott in Joe Orton’s “Loot” in 1984, where he delivered a deeply engaging portrayal of a detective driven by wild obsession.

Even on television, Rossiter left a lasting mark. His role as Rigsby in the sitcom “Rising Damp” depicted a bedsit landlord plagued by personal insecurities and unfulfilled desires. Whether on stage or screen, Rossiter had an extraordinary knack for imbuing his characters with a touch of mania that resonated broadly, making each performance uniquely memorable.