In 2003 Michael Boyd was appointed as the Royal Shakespeare Company’s (RSC) new Artistic Director. His mission: to revive the fortunes of the UK’s most celebrated repertoire. So, when Boyd declared his intention to “knock Shakespeare off his podium” by scaling down the number of works produced by the RSC written by its namesake, was it just a ploy for publicity, or a simply a frank statement of intent. And more importantly can the RSC survive with less of the Bard?
Thanks to the success of its Complete Works Festival, 2006 was the most successful year in the RSC’s recent history, which makes the timing of Boyd’s announcement, in November last year, seem extraordinarily bold to say the least. Not that Boyd is a stranger to taking dauntless action. As a director he was not afraid to spill blood in the name of bringing Shakespeare to the attention, and appreciation, of audiences. However, as a director he was able to legitimate his decisions through reference to his interpretation of the Stratfordian script. So too, in his executive capacity, Boyd insists that giving more weight to collaborations with living writers is in keeping with the history of the RSC.
In an interview with The Guardian, Boyd is quoted at making a somewhat spurious link between the RSC and its “relationship between the Renaissance and writing now”, the outcome of which is that, “New plays are more important than classical revivals.” Fair enough, but it surely comes as a surprise that this is a position supported by RSC, given, well, everything the RSC stands for. And what does the RSC stand for exactly? Well, right that you ask because, as some argue Tony Blair modernised New Labour to make the party barely distinguishable from the Conservatives, so Boyd seems intent on reinventing the thinking behind the RSC.
During the early 1990’s, when the RSC was suffering the embarrassment of pulling the plug on performances at the Barbican and elsewhere, the Company and actors were known purely for their “standards of excellence” in performing Shakespeare, with an occasional work by Ibsen, and the like, to stir up the pot. Today, the RSC website proclaims the Company “focuses on works by Shakespeare, other renaissance dramatists and contemporary writers. The RSC’s ensemble nature allows audiences to follow the company’s actors in a number of repertoire productions while providing an expert training environment for its actors, directors and theatre artists.”
Despite skepticism concerning Boyd’s reasoning behind introducing more contemporary plays into the RSC’s repertoire, his decision makes perfect sense in the current theatre climate, with its emphasis on being accessible and able to speak to audiences from diverse backgrounds. At the same time, Boyd is aware that to attract the cream of young talent he has to offer them experiencing that could define their careers.
Thus, Boyd is making it possible for one company of actors to stage all of Shakespeare’s histories over the next two and a half years – the first time this will have been achieved in the RSC’s own history. For the lucky thesps selected, Boyd offers job security and outstanding on the job training. The ensemble will also get to work with New York playwright Adriano Shaplin, recently appointed the RSC’s first International Writer in Residence “to restore the link between the living writer and the ensemble – a relationship that was critical to Shakespeare’s playwriting.” Shaplin, who wrote the critically acclaimed Pugilist Specialist, showcased at London’s Soho Theatre, is one of a new breed of edgy writers unafraid, like Boyd, to take calculated risks. In addition to scheduled performances of Twelfth Night and Macbeth, 2007 will also see Dash Arts’ pan-Indian production of A Midsummer Night’s Dream, plus a twisted reenvisioning of MacBeth, titled Macbett, directed by Romanian theatre artist Silviu Purcarete.
What is encouraging is that the RSC is exploring it’s options to ensure it serves up programs that will attract audiences and pay for the ambitious remodelling of it’s theatres over the coming years. For years the RSC acknowledged it had to change and has been trying to, with mixed success, for years. Finally, in Boyd, it appears the RSC has a leader with the gall to lead the RSC with the bold temerity of the Bard himself.
