Great drama is all about constructing an argument and giving maximum pleasure, says the actor, currently juggling Chekhov and Shakespeare at the Old Vic

When did you first know you wanted to act?

That’s quite a difficult question to answer because I’ve acted all my life, really – well, from the age of eight. I did a huge amount at school and a bit at university. But I went to the Guildhall as a singer, and I also toyed with various other options. The acting sort of crept up on me. It was simultaneous; it was both the only thing I’d ever really wanted to do, and also something I’d never even considered.

Breakthrough production?

Professionally, it was when we went to the Royal Court with Women Beware Women, my first serious play in London. In terms of my perception of myself, it was The Seagull, which I did at the RSC in 1991. That was my first ever really very serious role. Up until then I’d been doing lots of comic parts.

Favourite venue?

I have loads, actually. When I was at the RSC, I loved the Swan, but you can’t complain about the Other Place. And I’m rather fond of the Olivier. I suppose those are the obvious ones.

Least favourite?

I think the Barbican – not the theatre, but the centre – because you have to spend so many hours a day there, and all the dressing rooms are underground. The theatre itself is rather beautiful, but the actual backstage area … Actors need air!

Most challenging experience?

I’ve done lots of performances I’ve not been happy with. I don’t think I was a very good Edgar [in King Lear]. In terms of challenges, the two Pinter plays I did last year [A Slight Ache and Landscape] were a departure for me. Whenever there’s a shift in repertoire, it can be challenging – Spamalot as much as the Pinters. One of the most demanding was Hamlet, for obvious reasons. But I’ve not had many unhappy experiences. Touch wood.

Favourite part of the job?

I love the construction of an argument. I love studying a great play with unquestionably great writing, like a Shakespeare play, and trying to make my mind respond in an interesting way to this extraordinary piece. So I suppose the process of rehearsal is what I most enjoy. Of course, we all love to be praised, but actually the least exciting thing is the curtain call.

How do people react at parties when you say what you do?

They’re embarrassed, usually, because if they haven’t seen you on stage, they assume you’re out of work. You always want to say, “I’m an actor, but don’t worry about it – I’m fine, honestly!”

What would most surprise an outsider about your day-to-day work?

I think people would be surprised by how much care goes into decisions, that we discuss things as thoroughly as we can, try and take arguments right down to the end of the line before we make decisions. And I think people are always surprised by the amount of time that we need in order to get anywhere near what we think the playwright means.

What advice would you give someone wanting to do what you do?

I used to be quite careful about what I said to people who asked – all that shit about “It’s very difficult, 90% of actors are out of work” – and then someone said, “Yes, but 10% are in work!” And that’s the way to look at it, really. There’s no advice I can give, except just to do it, and don’t feel ashamed if it’s what you want to do. I think to hedge your ambitions with lots of caveats about how difficult it is is unnecessary. It’s a passion. It’s a calling.

Can you put what you do into five words?

I want to give pleasure.

Is it glamorous?

No. It’s very exciting, and you meet the most extraordinary people, but it’s not really glamorous.

• Simon Russell Beale is currently appearing in The Winter’s Tale and The Cherry Orchard at the Old Vic.