Nicholas Hytner
Hytner hits the bull's eye: The Southbury Child, at the Bridge Theatre, reviewed
The Southbury Child is a comedy drama set in east Devon featuring a distressed vicar, Fr David, with a complex…
The psychopath who wrecked New York
Robert Gore-Langton on the man who wrecked New York
This play is a wonder: Bach & Sons at the Bridge Theatre reviewed
Bach & Sons opens with the great composer tinkling away on a harpsichord while a toddler screeches his head off…
Pure poison: BBC1’s Talking Heads reviewed
The big mistake people make with Alan Bennett is to conflate him with his fellow Yorkshireman David Hockney. But whereas…
Privatisation is the best option for the South Bank Centre
I must have written about this subject 100 times in 30 years and I’m still having to restate the bloody…
Slow-moving tale with a strong echo of Brideshead: Alys, Always at the Bridge reviewed
Nicholas Hytner’s new show, Alys, Always, is based on a Harriet Lane novel that carries a strong echo of Brideshead.…
Mean-spirited, muddled, idiotic and puerile: Martin McDonagh’s A Very Very Very Dark Matter reviewed
In the year since it opened, the Bridge has given us the following: a harmless Karl Marx comedy by Richard…
Why has the Bridge Theatre opened with this lightweight new play? Young Marx reviewed
Bang! A brand new theatre has opened on the South Bank managed by the two Nicks, Hytner and Starr, who…
American Buffalo at Wyndham’s reviewed: ‘magnificent, multicoloured, vast and tragic’
David Mamet is Pinter without the Pinteresque indulgences, the absurdities and obscurities, the pauses, the Number 38 bus routes. American…
Nicholas Hytner’s sod-you farewell: Rules for Living at the Dorfman reviewed
Experts are concerned that Alan Ayckbourn’s plays may soon face extinction. Fewer than 80 of these precious beasts still exist…
Royal Opera's Rigoletto: your disbelief may wobble but your excitement won't
One of the greatest tests of how an opera house is functioning is the quality of its revivals. Both the…
