NEW YORK, NY.- Since the National Theater opened in London in 1963, its artistic directors have been among the greats of British theater: Laurence Olivier, Peter Hall, Richard Eyre, Trevor Nunn, Nicholas Hytner and Rufus Norris. They also had two other things in common. All six are white men.

On Wednesday, the theater brought that era to an end when it announced the appointment of Indhu Rubasingham to the top position. She will be the first woman and person of color to lead the National Theater.

Rubasingham, 53, will join next spring, the theater said in a news release. She will work for a year alongside Norris, who is departing, before taking sole charge in spring 2025, when she will also share the role of CEO with Kate Varah, the theater’s current executive director. That sharing of responsibilities is a change for the theater, where Norris currently holds both roles.

With three theaters in its building alongside the River Thames, the National, as it is known, stages about 20 plays and musicals each year, and has almost 900 full-time employees. Critics and theatergoers expect it to produce the best new shows and revivals in London, while also staging work that comments on the state of the nation. On top of that, it is tasked with incubating new talent, mounting touring productions across Britain and running an extensive education program.

Rubasingham will have to do all of that in the face of a shrinking budget and soaring inflation. Many theaters in Britain, including the National, receive annual government grants meant to cover about a fifth of their operating costs, but the amount of those subsidies is declining. Last year, Arts Council England, the funding body, slashed the National’s subsidy by 5%, to 16.1 million pounds (about $20 million), as part of a drive to reallocate grants to institutions outside London.

Beginning in fall 2024, the National will face further budgetary pressure when it has to start repaying a loan worth about $25 million. Britain’s government lent the theater the money during the coronavirus pandemic to help the shuttered institution shore up its finances.

Rubasingham will be expected to produce money-spinning transfers to both the West End in London and Broadway in New York City. Over the past decade or so, the National’s transfers to New York have included “War Horse,” “The Curious Incident of the Dog in the Night-Time” and “The Lehman Trilogy.” Next year, it is sending “The Effect,” a recent hit, to The Shed.

At the much smaller London playhouse that she currently leads, the Kiln, Rubasingham has directed several hits that have found their way to New York, including “Red Velvet,” about the experiences of an African American actor in 19th-century London, which played at St. Ann’s Warehouse in 2014, and Zadie Smith’s “The Wife of Willesden,” which recently played at the Brooklyn Academy of Music. Her programming at the theater, which changed its name from the Tricycle to the Kiln under her leadership, included acclaimed shows including “The Father,” “The Mother” and “The Son” from Florian Zeller’s trilogy, and works by emerging playwrights.

Her time at that theater has not been without controversy.

When Israel invaded the Gaza Strip in 2014, Rubasingham announced that the theater would no longer host some screenings for the U.K. Jewish Film Festival if it continued to accept funding from the Israeli government. The ultimatum caused a minor furor, and the editor of The Jewish Chronicle called the Tricycle “officially antisemitic” on social media. (The screenings went ahead at other venues.)

A spokesperson for the National Theater said that Rubasingham was unavailable for an interview, and the theater had no comment about the incident.

The rebranding of the Tricycle in 2018, so that it became the Kiln, also caused a fuss, and many critics were mystified by the name change.

Born in the northern English city of Sheffield to Sri Lankan Tamil parents, Rubasingham has said in interviews that as a teenager she expected to become a doctor until she accepted a work experience placement at the Nottingham Playhouse, a regional theater. She studied drama at Hull University and then worked as a trainee director at the Theater Royal Stratford East in London, where she worked with Mike Leigh, a movie director.

Even with a lengthy track record at the Kiln, the National appointment is a huge step up. Clint Dyer, the National Theater’s deputy artistic director, outlined the challenges of running the organization in a recent interview with the Times of London. Whoever got the top job, he said, needed to have the “experience, understanding, empathy, desire” and “forward thinking” required to run any major arts institution, but also “the knowledge of the canon, of new playwriting and the ability to speak to donors, to government, to people like me.”

“It’s a herculean task,” Dyer said.

This article originally appeared in The New York Times.