Then I went and asked some question – in truth I don't really remember what it was – something to do with the need for bringing his company to the North. In this context it isn't really the question that's important, as much as his reaction to it. Dromgoole spoke with the passionate zeal of a recent convert when he thought for a moment I was being critical of his company. His reaction made me realise that there are those who feel they need to protect the Bard.

The realisation came as a surprise as I think of Shakespeare as someone who doesn't really need much looking after – I think his work is fairly able to look after itself.

There's no way to write what I'm about to write, I realise now, without sounding arrogant – but: I have always just "got" Shakespeare.

It's thanks to an inspiring English teacher that the language and stories of the Bard never seemed archaic to me. There was always such vibrancy in the way that Mr Taylor taught (and later directed me in) Shakespeare that it felt like work which had been written absolutely for a contemporary audience. Then Baz Luhrmann came along with his version of Romeo + Juliet and confirmed everything I always knew. The Bard was brilliant. Not only that, but if people ever complained about the language or of it being boring, I genuinely didn't know what they were banging on about.

So why was Dromgoole jumping on what I said and defending the Bard so passionately? Didn't he realise that he was preaching to the converted? Clearly, he didn't.

And it was also clear that there is a battle out there to convince people that Shakespeare is still relevant and not the "boring playwright they're forced to study at school".

Dromgoole was adamant that I understood that doing Shakespeare traditionally – which is what the touring arm of his company, coming to Yorkshire next month, does – does not mean museum theatre.

"When we say we adhere to the traditions of Shakespeare, we mean a troupe of actors travelling from town to town, presenting a show," insisted the director.

He also insisted that this does not mean plays which are done in a staid or stiff manner. Quite the opposite. If a company of actors – as they did when Shakespeare was around – pitch up at a venue and find the stage is in a park, or around a fountain, or on a stage surrounded by the audience, then they work with that. It makes for actors and productions which are fluid and open to change: and that makes for exciting theatre.

While the Globe's touring arm is coming to Richmond Theatre and Newby Hall next month, Sprite Productions in Ripley is similarly making sure that Shakespeare's work is made relevant and exciting for a modern audience by staging The Tempest on an island at the end of a 50-metre long bridge. I guess because I don't need convincing of the genius of The Bard I take my love of his work for granted. If you're unconvinced, get along to Ripley or Richmond – and just see what you've been missing.