During a recent screening of the virtual reality film An Ark at the Shed, viewers experienced ghostly, lifelike 3-D holograms featuring four actors, including Sir Ian McKellen. Remarkably, McKellen himself was present in the audience, watching the immersive performance on a headset for the very first time. This moment reflected the intersection of cutting-edge technology with McKellen’s enduring connection to live performance.
Engaging with Young Fans and Addressing the Film’s Themes
Before sharing his thoughts on An Ark, McKellen faced a curious group of schoolchildren who recognized him primarily as Gandalf and Magneto rather than from his Shakespearean roles. One boy asked why the actors had discussed death so much within the work. McKellen quietly responded, “We’re angels, really.” When another child inquired about his thoughts on comedy acting, McKellen referenced,
“Have a look at ‘Extras,’ with Ricky Gervais.”
These exchanges displayed his openness and approachability despite his legendary status.
Reflecting on Technology and the Essence of Theatre
Afterwards, McKellen settled into a conference room, selecting a bag of potato chips, reading aloud the word “Classic” with enthusiasm before eating. Although An Ark felt strikingly real—prompting him to instinctively reach out when audience interaction was encouraged—he was clear about his artistic priorities. He stated,
“It is with a sigh of relief that I say that this medium is not going to overtake the theatre as an art form.”
This attitude was shaped by earlier experiences during the filming of the C.G.I.-heavy Lord of the Rings in 1999 and 2000. Facing a challenging scene involving actors only represented by photographs, McKellen had once remarked,
“This isn’t why I became an actor,”
and even offered to step away from the film. He explained,
“I don’t think any actor could. So we found some other way to do it.”
An Ark’s Meditative Narrative Resonates with McKellen
The film’s reflective style, written in the second person and following a life journey from birth to the afterlife, mirrored McKellen’s personal perspective on mortality. He shared,
“It’s a fascination with, or an acceptance of, the fact that I am not immortal. It’ll be my turn soon.”
Though he once planned a funeral ending with the song One Singular Sensation from A Chorus Line, those wishes changed when he decided to donate his body to science. This acceptance signifies a deeply contemplative stage in his life and career.
Facing Physical Challenges and Continuing Creative Work
In 2024, while portraying Falstaff in London, McKellen suffered a fall from the stage, an event marked by sharp moments of fear and humor. He recounted,
“I shrieked out to a full house in the Noël Coward Theatre, ‘I’m sorry! I don’t do this!,’ and then, ‘Help me, I’m dying!’ Those are the thoughts that went through my head.”
Both he and the audience member he landed on were rushed to the hospital, where McKellen was treated for chipped vertebrae and a fractured wrist. Despite these injuries, he has tested his physical limits, stating,
“I did five films last year and I’ve been onstage now five times since, and everything’s working.”
His recent projects include The Christophers, a film about art forgery made with Steven Soderbergh, and an upcoming role as Jacob Marley opposite Johnny Depp in a new adaptation centered on Ebenezer Scrooge.
Political Advocacy and Personal Honesty on National Television
The day after watching An Ark, McKellen appeared on Stephen Colbert’s late-night show to deliver a powerful monologue from the Elizabethan drama Sir Thomas More, condemning anti-immigrant views. The performance quickly went viral, underscoring McKellen’s dual reputation as a master of Shakespeare and a vocal advocate for gay rights. Reflecting on his coming out in 1988 at age forty-nine, he stated,
“I did it on my own behalf.”
He contrasted his openness with the experience of his friend Simon Callow, who had to come out through a biography since the press ignored it otherwise. McKellen spoke candidly about the freedom honesty brought him, saying,
“Nobody was surprised. And it freed up my emotions to no end. I’d always found strongly emotional scenes very difficult.”
He recalled how acknowledging his sexuality allowed him to fully embrace emotional roles, noting,
“I was playing Chekhov’s Uncle Vanya, and suddenly I could cry at every performance. That was all because I was honest. Everything was better.”
He even expressed playful ideas about a large-scale coming-out campaign, quipping,
“I used to think it would be fun to have a coming-out campaign like Billy Graham—that Elton and I and the Pet Shop Boys and whoever else wanted to, we’d get a big tent and when we arrived in your town we’d announce, ‘Now is your chance! You can stand up and come out!’”
Legacy and Lighter Reflections on Identity
Ending on a lighter note, McKellen smiled and placed the nearly empty chip bag down, sharing,
“I used to think my gravestone would read, ‘Here lies Gandalf. He came out.’”
This statement encapsulates the blend of his formidable stage presence, personal courage, and continued relevance as he embraces both traditional theatre and emerging technologies like virtual reality.
