#michael boyd

[moodboardmix]

Joseph Strick house, Santa Monica, California, United States,

The Strick House is Niemeyer’s only built work in North America besides the U.N.

Niemeyer had not been allowed in the U.S. since 1947 because of his political views and he was not able to visit the site.

The house came to be saved by the couple Michael and Gabrielle Boyd.

Upon viewing the BoydDesign restoration in 2007, Niemeyer said “It’s nice to finally meet this house,” and, “I love that it’s been restored to its sixties elegance.

Oscar Niemeyer, 1964,

Restauration by Michael and Gabrielle Boyd.

[almostarts]

Michael Boyd, "Little Mountain" Chairs, USA, 2013,

PLANEfurniture, Composite, enameled aluminum,

28¾ h × 24½ w × 32¾ d in (73 × 62 × 83 cm)

Courtesy: Wright20

[anarchorave]

Glasgow photo by Michael Boyd

[fragrantblossoms]

Michael Boyd.  Untitled, 1965.  Ink, graphite and collage on paper.

[ub-sessed]

Look who I came across while browsing the RSC Hamlet at the bookstore. (The picture is from a 2004 performance.) Yes I bought it.

(We already have two copies of Hamlet but technically they both belong to my baby daddy and neither of them is a standalone copy, they're both in collections like Shakespeare's tragedies or whatever, and this one has this interesting looking interview and a few essays and stuff.)

[shakespearenews]

Michael Boyd, 68, Who Invigorated the Royal Shakespeare Company, Dies

He is credited with stabilizing that venerable British troupe while energizing it with ambitious projects, including Broadway’s “Matilda the

By 1986 he was at the Tron, another buzzing theater. For his “Macbeth” there in 1993, he surprised audiences right from the start, opening not with the usual witches’ prologue but with three cellists playing a dirge while corpses were stacked in an open grave.

“It is a brilliant opening which demands an immediate reorientation of the responses of the audience,” John Linklater wrote in a review in The Herald of Glasgow. “The physical and moral geography of the play is drastically rearranged.”

[shakespearenews]

Sir Michael Boyd brought visionary gleam to Shakespeare and Stratford

The Royal Shakespeare Company’s former artistic director was a great theatrical leader whose legacy includes proving the history cycle is at

Theatre

Sir Michael Boyd brought visionary gleam to Shakespeare and Stratford

News of the death of Sir Michael Boyd at the age of 68 has come as a shock. Boyd took over the directorship of the Royal Shakespeare Company in 2003 when it was at crisis point. It had a deficit of more than £2m, had forfeited its London base in the Barbican and, in the words of its former literary manager, Colin Chambers, was in danger of becoming a corporation rather than a company. By the time of his departure in 2012, Boyd had restored the RSC to something of its former glory and I would highlight three facets of his achievement.

... For a start there was his skill as a director. It first hit me in 1999, when as an associate to Adrian Noble, he did a production of A Midsummer Night’s Dream – the best since Peter Brook’s – that turned the play into a foot-stamping erotic fertility rite. But Boyd’s greatest success came with his eight-play cycle of Shakespeare’s histories which reached fulfilment in 2008. At its heart lay the idea, to borrow a phrase from TS Eliot’s Four Quartets, of “time future contained in time past”. You saw that at the start of Richard II when Jonathan Slinger’s king stepped gingerly over the corpse of Thomas of Woodstock, Duke of Gloucester: a vital image in that Richard’s implication in Gloucester’s murder leads to the unravelling of his authority which in turn produces decades of civil strife.

[emily84]