ABSTRACT
The National Theatre and the Royal Shakespeare Company both regained poise and purpose in the early years of the new century. Nicholas Hytner similarly rescued the National Theatre from the doldrums in 2003. The breaking down of the barriers between the 'big' subsidised companies and some of the smaller independent companies was a further advance, with directors like Felix Barrett of Punchdrunk also working at the National Theatre. In 1995 Michael Bogdanov and Phil Clark launched a campaign for a National Theatre of Wales, and after devolution, first Theatr Genedlaethol Cymru, a Welsh-language national theatre, and then the English-language National Theatre of Wales were launched, the former in 2003, the latter in 2009, after considerable debate and controversy. Theatre Uncut found a unique way to intervene in public affairs. In 1981, the leading black actor, Norman Beaton, with experience of lead roles at the National Theatre, complained that such casting reduced 'plays to a series of individual performances'.
