Word: hytner
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...Nicholas Hytner's direction takes good advantage of the ever changing stage size--switching from scenes so private audience members almost feel like eavesdroppers to grand processions of servants carrying elaborate boxes...
...Madness of George III. Based on the actual derangement of the King who lost the American colonies, the play begins an East Coast tour this week in its Royal National Theatre production. For the House of Windsor, of course, it is not merely an entertainment. As director Nicholas Hytner recalls, "The royal family saw it as a sad and moving story of a close relation." Princess Margaret went up to Hytner at intermission, "drink firmly in hand," and asked what ailed the twitching, foaming monarch. The King, Hytner explained, suffered from the metabolic disorder porphyria. "And what causes...
Prince Charles came better briefed. Without help from Hytner, the heir apparent explained to his entourage the disease's cause and effects, then added, "I understand there are six people in Dartmoor ((prison for the criminally insane)) who say that they are the real Prince Charles. I often wonder if perhaps one of them is the real Prince Charles and I am the insane one." Queen Elizabeth did not see the play, but she has met its star, Nigel Hawthorne, at a couple of receptions. "From her remarks," Hawthorne says, "clearly the Queen is under the impression that...
...play is the richest yet by Bennett, known in the U.S. mainly for such minimalist video dramas as An Englishman Abroad with Alan Bates and Talking Heads with Maggie Smith. The staging's cinematic blend of pageantry and intimacy is a drama showcase for Hytner, best known for musicals such as Broadway's Miss Saigon and the Broadway-bound London revival of Carousel. The brevity of the eight-week U.S. run, combined with its vast scale -- 23 actors onstage and a staff of 22 -- pretty much ensures it will be at best a break- even for the Royal National. Explains...
Director Nicholas Hytner, in reshaping his London staging to the much smaller Broadway space, made some numbers more intimate but merely cramped others. And even more than in the original version, the show sorely lacks the cinematic fluidity of Les Miserables or The Phantom of the Opera. But Hytner has triumphed at the end, making what used to be an unbearably depressing suicide mercifully less graphic. With set designer John Napier, he has found a less realistic, more suggestive look that better serves the metaphorical layers of this most ambitious musical -- yet is entirely congenial to that helicopter...