When the Royal Shakespeare Company seemed to be falling apart in the late 1990s, there was genuine cause for concern. The troupe had no automatic monopoly over performances of Shakespeare, nor could it claim a very particular style in its stagings. But since the 1960s it had held a special place at the higher end of British theatre culture as the natural, and national, promoter and evolver of the world’s greatest body of plays. By 2001, under artistic director Adrian Noble, the RSC was out of London, in retreat in Stratford-upon-Avon, and looking punctured. It was an unhappy sight.