, when, shortly afterwards, he became the new artistic director. Quietly spoken, intellectual and experimental, steeped in Russian and German traditions of well-subsidised ensemble theatre, there was some initial scepticism that he would be the man to surmount these formidable challenges. His choice for his first new production as leader of the company seemed ominous:){kind=link}
Sir Jonathan Bate writes: There was much ado at the first Royal Shakespeare Company Board meeting I attended. The artistic director had resigned, the chairman announced that he would be stepping down, the company had lost its London home, its Arts Council grant was under threat, and planning permission had been refused for a new theatre in Stratford-upon-Avon. This was the situation inherited by Michael Boyd (obituary, August 7), when, shortly afterwards, he became the new artistic director. Quietly spoken, intellectual and experimental, steeped in Russian and German traditions of well-subsidised ensemble theatre, there was some initial scepticism that he would be the man to surmount these formidable challenges.
His choice for his first new production as leader of the company seemed ominous:
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