Word: hytner
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...Brits were our role models in theater. They guided us through Shakespeare, virtually reinvented the Broadway musical and inundated us with Tom Stoppard plays. Now they are marching through our American classics, retooling them and throwing them back at us. And lately they have been stumbling. Acclaimed director Nicholas Hytner, soon to take over London's National Theatre, couldn't solve the problem of how to turn Sweet Smell of Success, the film-noir classic, into a Broadway musical. Trevor Nunn's production of Oklahoma!, which won raves in London, failed to wow the critics in its Broadway debut...
...allegory about the Salem witch-hunts comes naturally to the Brits, who are more comfortable than Americans are with overtly political drama. The distinctive vernacular of some of our other homegrown genres gives the Brits more trouble. The National Theatre's first revival of a Rodgers and Hammerstein classic, Hytner's dark-hued production of Carousel (seen on Broadway in 1994), was a beautiful piece of work. But the wide-open frontier of Oklahoma!--while rendered just as beautifully onstage in burnished golds and blues--seems like foreign territory. It's not that Nunn's production puts too much emphasis...
Directed by Nicholas Hytner...
...seemed so, potentially, right. Playwright John Guare: "The House of Blue Leaves," "Six Degrees of Separation" and the 1981 Lancaster movie "Atlantic City." Composer Marvin Hamlisch: "The Way We Were," "A Chorus Line," "They're Playing Our Song," "The Goodbye Girl" - all pulsing odes to Manhattan. Director Nicholas Hytner and designer Bob Crowley have confected some of the most enchanted theatrical evenings of the last two decades. Still I wondered: why a musical? Broadway songs are for what you can't say, for what's in your heart. Sidney, J.J. - what heart? And their success, which J.J. bathes...
...clamoring for Wheeldon's crowd-pleasing yet intelligently crafted ballets. This summer he'll be making his first dance for the San Francisco Ballet and his second, a new version of Stravinsky's Firebird, for the Boston Ballet, as well as working on a dance-themed film by Nicholas Hytner (The Object of My Affection). "If a company calls and I have the time," he says cheerily, "I'll do it." There's just one catch: if they want somebody trendy, they'll have to call somebody else. "Ballet has to move forward, yes, but it doesn't have...