The visit to Britain in the spring of 1994 by the St Petersburg Maly Drama Theatre – described by Peter Brook as ‘the finest theatre ensemble in Europe’ – was warmly received by audiences and critics alike. Yet in Britain the idea of this kind of ‘permanent’ theatre company, so dear to earlier generations of actors and directors, seems not to have survived the climate of the 'eighties, and there is a sense that such remaining permanent companies as the Moscow Art Theatre and the Berliner Ensemble are dinosaurs from a more collectivist past. In an interview with Izvestiya, however, the Maly company's director, Lev Dodin, castigated western theatre for being ‘just a branch of the economy’ and having no permanent companies on what he called ‘the Russian model’. What is the truth about ensembles and permanent companies? In 1991, as part of research for an essay on Chekhov and the ‘company problem’ in British theatre, Patrick Miles interviewed Peter Hall on the subject of ensembles and companies. Peter Hall founded the Royal Shakespeare Company as a permanent ensemble in 1960, directed the National Theatre for fifteen years – but not as a permanent theatre company – and since 1988 has been running his own, impermanent company in the theatrical market-place. At the time of the interview, here edited for publication, Peter Hall was rehearsing Twelfth Night at the Playhouse Theatre, London. Patrick Miles's essay ‘Chekhov and the Company Problem in the British Theatre’ was included in Chekhov on the British Stage (Cambridge, 1993).