Balancing Acts: Behind the Scenes at London's National Theatre

by Nicholas Hytner

From the Tony Award and Laurence Olivier Award-winning former director of London's National Theatre--this is a fascinating, candid, eloquent memoir about his career directing theater, producing films and opera, and working closely with some of the world's most celebrated actors.

The list of Nicholas Hytner's accomplishments is long and distinguished: as Artistic Director of London's National Theatre from 2003-2015, he directed and produced a great number of their most popular and memorable plays and musicals, many of which have come to Broadway: Carousel, Richard Bean's One Man, Two Guvnors, David Hare's Stuff Happens among them. He directed both the London and Broadway productions of Miss Saigon, each of which ran for ten years. He directed Alan Bennett's The Madness of George III on both stage and screen. In short: He is one of today's most successful and admired theatrical impresarios.

In Balancing Acts, Hytner gives us a detailed behind-the-scenes look at his creative process. From reviving classic musicals and mastering Shakespeare to commissioning new plays, he shows theater making to be a necessarily collaborative exercise, and he writes insightfully about the actors and playwrights he's worked with: Derek Jacobi, Richard Griffiths, Helen Mirren, Maggie Smith, Michael Gambon, Harold Pinter, and Tom Stoppard among them. With a cultural range that spans from The Mikado to The Lady in the Van, Balancing Acts is not only a memoir but a gathering of illuminating notes on the art of directing and a thoughtful meditation on the purpose of theater.

Genres: Nonfiction, Theatre, Biography, Memoir, History, Plays, Autobiography

320 pages, Hardcover

First published November 14, 2017

Reviews

[Bettie]

http://www.bbc.co.uk/programmes/b08nkrc6

Description: The inside story of twelve years at the helm of Britain's greatest theatre. It is a story of lunatic failures and spectacular successes such as The History Boys, War Horse and One Man, Two Guvnors; of opening the doors of the National Theatre to a broader audience than ever before, and changing the public's perception of what theatre is for.

It is about probing Shakespeare from every angle and reinventing the classics. About fostering new talent and directing some of the most celebrated actors of our times. Its cast includes the likes of Alan Bennett, Maggie Smith, Michael Gambon and Helen Mirren.

Intimate, candid and insightful, Balancing Acts is a passionate exploration of the art and alchemy of making theatre.

[Sara · Rating 4 out of 5]

Pure theater buff catnip. Loaded with juicy anecdotes of some of the greatest figures in British theater, and detailed stories of the collaborative creative process behind producing old and new plays at a theater that does about 20 a year. It's also of interest to anyone in the arts facing the problems of how to make good art, draw big audiences, and pay the bills -- he's managed to do them all at once.

[Pete Harris · Rating 4 out of 5]

Waspish or bitchy

Balancing Acts is Nicholas Hytner's account of his years in charge of the National Theatre. This makes it different from many other theatrical memoirs I have read in its sheer breadth. His account is that of the modern theatrical lynchpin whose concerns range from the performances of individual actors, through choosing directors and commissioning writers, to sponsorship, ticket pricing and the constant challenge of boosting audiences and reaching out to new theatre goers. There is also the 21st century challenge of exploiting global commercial opportunities, both through physical staging, and through remote transmission.

The book reads like the list of floats in a carnival procession of the famous of British theatrical nobility. Simon Russell Beale, Dame Maggie Smith, Dame Judi Dench, Dame Helen Mirren, Roger Allam, Tom Stoppard, Dominic Cooper, Frances De La Tour, are all part of a much longer line. Some like Alan Bennet, feature extensively, while others, like Danny Boyle and Benedict Cumberbatch, in a fascinating cameo of the former casting the latter in Frankenstein, pass through fleetingly.

The book is at its most successful where it goes into more depth and detail of particular productions, Henry V, War Horse or His Dark Materials. At times however it felt as a little dissatisfying as he skated over the top of productions about which wanted to know more. Perhaps, however, that is a realistic picture of the life of someone in this role.

So, for anybody interested in the theatre this is definitely a book which is to be highly recommended. However for all it gives a revealing and immersive account of how a modern flagship theatre works, I found I could never quite warm to Hytner. For all he is self deprecating, for example in describing his dark moods and tantrums when His Dark Materials appeared to be close to catastrophe, there is a definite tone of self justification running through the book. I frequently thought I could detect the author answering off-stage critics. There is also a danger in all theatrical memoirs, encapsulated in a review I read which described Hytner as "waspish", that wit can tip over into bitchiness.

So, read this to learn of the fractured job of heading a national institution. Turn to Anthony Sher for a more satisfying theatrical autobiography.

[Trevor · Rating 5 out of 5]

I do believe, just a few weeks ago, I declared something I had recently read to be my ‘book of the year, 2024’. Actually, I may have done it more than once this year. Anyway, I’m declaring ‘Balancing Acts’ to be my likely non-fiction book of 2024 and would be astonished to read anything better.
Nicholas Hytner was director of the National Theatre between 2003 and 2015, and this is an account of his time in office. It would be easy for this book to be simply a series of theatrical anecdotes, but it is much more. In short, it is essential and fascinating reading for anyone who has a love for theatre be they actor, director, set designer etc, or, like me, a humble theatre goer.
He discusses the ‘what’ and ‘why’ of the National Theatre, but also the ‘how’. How to balance the need to showcase new productions and emerging writers with tried and tested classics and favourites while at the same time seeking to attract a wider audience beyond the traditional. Hytner was not only the National Theatre CEO, but also a director of some renown and throughout his tenure he regularly directed plays too. It is clear that it is in the production of theatre where his heart lies and his discussions of working with playwrights, actors, fellow directors and key members of National’s backstage staff is always fascinating. During his stewardship the National had a number of huge box office hits – ‘The History Boys’, ‘Warhorse’, and ‘One Man, Two Guvnors’ to name but three. All necessary to balance against productions that were a little more challenging to audience attraction.
For me the most interesting sections are where Hytner delves into the texts and characters of productions: Henry VI, Hamlet, Othello, King Lear and Henry V to name a few, but also the challenge of staging George Bernard Shaw, the History Boys, Warhorse and many more. Hytner was fortunate enough to work with fabulous actors and he describes how so many of them brought not only consummate acting skills but wisdom and insight into the human condition to their work. Among the names appearing regularly are Simon Russell Beale, Michael Gambon, Richard Griffiths, Alex Jennings, Maggie Smith, Zoe Wanamaker and new and emerging talents such as Ben Wishaw, Anna Maxwell Martin and James Corden – what a list.
Barely mentioned until very late on is that ‘National Theatre Live’ – live streaming NT productions into cinemas was introduced during Hytner’s tenure, allowing those (like me) who do not live in London to enjoy productions at my local cinema.
I’m sure this book would be of interests to both theatre lovers, those in the industry but also students of theatre and performance.
Very highly recommended and very enjoyable.

[Helen Peachey · Rating 5 out of 5]

For anyone who has a love of the theatre, this book is a gem. It is a fascinating insight to the years spent by Nicholas Hytner as Director of the National Theatre. It is packed with anecdotes and details describing what makes such an important arts venue tick. The book explores the real balancing act of the need to showcase new and innovative productions, tried and tested classical favourites whilst at the same time appealing to a wide audience whose box office contributions help to secure the theatre’s future. During this period of crisis for the arts the book is an entertaining and affirming contribution to the need for such venues as the National to survive in a post covid world.

[Sophie Furlong Tighe · Rating 3 out of 5]

This is very well written and interesting if you’re interested in Hynter’s work at the National. I do wish there was more focus on shows he didn’t direct, and less Katie Mitchell bashing.

[Theo Chen · Rating 4 out of 5]

Lots and lots of fascinating insight on how to run a national theatre, what a national theatre even is or should be, and lots of great textual analysis (including some Shakespearean stuff that I skimmed over because I wasn’t in academic mode, but will return to as I imagine it’ll be useful) - especially love all the backstage gossip, as always. The National is such a fascinating space, and I loved reading more about the work that went into running it for a very successful decade!

[David · Rating 5 out of 5]

For anybody interested in the theatre, this is essential reading. Scattered amongst the reminiscences of his twelve years as artistic director of the National Theatre, Nicholas Hytner delves into the texts of some of the plays for which he is responsible. These little essays describe his thoughts about many of the classics, particularly Shakespeare. On "Henry VI Part I" he tells us:

"Hal, Falstaff, the king: the plays, like most of Shakespeare's history plays, have little time for women. Despite being written when the most successful and powerful of all English women was on the throne, they marginalise women more even than they have been marginalised by history...….. What kind of incomparable panorama of England leaves out half it's population?...… I no longer think it's good enough to insist only that Shakespeare held the mirror up to his own world. To perform his plays is to invite universal participation in them."

Early in the book, Hytner describes the trials and tribulations of staging "His Dark Materials". Anna Maxwell Martin, Dominic Cooper and ben Wishaw were all at the beginning of their careers. The sections about "The History Boys" and "The Lady in the Van" are classics. He revels in the expertise of some of his actors: John Wood as Brutus, Simon Russell Beale, Zoe Wanamaker, Alex Jennings, Maggie Smith, the list goes on.

I was initially less interested in the part about musicals, but the way Hytner describes their emotional depth makes me want to see more. "Carousel" and "Miss Saigon" particularly. The origins of "One Man, Two Guvnors" were of great interest, having been fortunate to see James Corden at the Aylesbury Waterside theatre.

As well as the bid successes, Hytner does not stint on the failures. But overall, his twelve years in charge are a huge success. The transition from putting on only limited runs at the three theatres, to transfers to the West End, Broadway, national tours (e.g. "War Horse" and "The Curious Incident of the Dog in the Night Time" and live transmissions to cinemas paved the way for a sustainable model despite cuts in subsidies. Nicholas Hytner has written all this down in a literate and entertaining book that I loved.

[Andrew Marshall · Rating 2 out of 5]

Over the past, fifteen years or so, I have enjoyed many of the shows that Hytner writes about: History Boys, His Dark Materials, War Horse, Curious Incident, Mother Clapp’s Molly House, One Man, Two Guvenors. Plus I’ve enjoyed his film ‘Madness of King George. So I should have loved this book. I even disregarded the opening sentence about why he became a director: ‘At University, I realised I couldn’t write and I couldn’t act.’

I don’t know about Hytner’s acting but on the evidence of this book, he certainly can’t write. A writer or even a good editor would have asked the question: what is this book about? Is it as the title suggest an account of his time at the National Theatre? Yes but he doesn’t give us enough detail to get a real sense of the drama of running a major institution. Is it a resume of his career? Yes we get his other greatest hits but everything flashes past so quickly we don’t get any insights. Is it a’ how to’ book for aspiring directors? Maybe but once again it’s all too superficial. Is it an insight into working with some of the great writers and actors of this generation? Not really, beyond Alan Bennett, and Bennett is far more revealing about himself than Hynter. The only section where the text comes alive, when it seems like he’s saying ‘come pull up a chair, I’ll tell you what it’s like in the rehearsal room’ is when he writes about staging Shakespeare. Otherwise, it is a jumble sale of ideas tossed unlovingly across a series of unconnected chapters. Hytner simply does not have the skill to draw us in to what should have been an interesting story.

So why did he write it? If I was being cruel, I would say it was for the money or because he was asked. But I think the answer comes in ‘Cast and Characters’ at the end. While most writers give a page of thank yous – for friends who read the first draft, writing retreats, agents and editors – Hynter has no less than fourteen pages. |Perhaps he just wanted to acknowledge everybody who has helped him so far. However in doing so, he disappeared from the pages of his own book.

[Fabulitas · Rating 4 out of 5]

A great gift for someone interested in theatre, even more so if they know a bit about London's National Theatre. Hytner writes about his years as its director in a witty and a bit self-depreciating way. There are musings about the role of theatre in the public life (art! entertainment! ticket prices! sponsorship! old audiences! new audiences! letters of complaint!), there are triumphs and flops, years-long personal relationships and paths briefly crossed, serious reflections on Shakespeare and wonderful theatre anecdotes (that young actor playing deamon goose in NT production of His Dark Materials? he went on to play Hamlet in a Trevor Nunn's production, because, well, he's Ben Whishaw). It's a fun light book and a love letter to the theatre and people working in it.

[Mike · Rating 4 out of 5]

I nearly gave up on this early on, when he went into considerable detail about a play set in a gay brothel. Thankfully there's a lot more in it, but it still remains a bit of a bitzer. We hop about all over the shop chronologically, and it doesn't seem as though there's much real organisation in the book. Pity, because Hytner was responsible for some remarkable productions at the National Theatre, and has known and worked with the creme de la creme of British actors.
Still there's a lot of fascinating stuff in it.

[Patricia · Rating 4 out of 5]

I'm always a sucker for a chance to peek backstage, and the Royal National Theatre is a great place to take a peek. I'm also a fan of Hytner, so I loved hearing his take on the remarkable shows that the National produced during his tenure there - Curious Incident; James Cordon in One Man, Two Guv'ners; Miss Saigon, Carousel with Michale Hayden, and so much more. This is not a dishing the dirt tell-all. It's a great director and producer talking about the process of making art. A really engaging read.

[Mark Ludmon · Rating 5 out of 5]

Nicholas Hytner provides fascinating insights into the workings of British theatre and the craft of a director in his look back at his time as artistic director of the National Theatre from 2003 to 2015. It includes details about the staging of some of the most high-profile productions such as The History Boys, War Horse, One Man Two Guvnors, Frankenstein, The Madness of George III, Hamlet, Othello, Henry IV, Timon of Athens, Much Ado About Nothing and The Winter’s Tale. It also features his work on films and other shows in his career, from Sweet Smell of Success to Miss Saigon.

[Rea Bailey · Rating 5 out of 5]

Such an amazing book about this crazy and wonderful industry! Although the book was mainly male driven (ie, speaking about mostly male actors) I enjoyed learning about a director I want to work with one day, he has made some bloody amazing things happen within our industry which some have changed for the better. What a guy and what a book!

[Tony · Rating 4 out of 5]

My Grade = 88% B+

Published 2017. 296 pages (plus a 15 page index).

Nicholas Hytner was the Artistic Director of London’s Royal National Theatre from 2003 to 2015. The National houses three theatres (the Olivier - 1160 seats), Lyttleton - 890, and the Cottsloe - now Dorfman - 400). It was built in 1976 in a huge and very impressive concrete building on the South Bank of the Thames in Central London - almost just across the river from Charring Cross Station.

As a Brit Lit teacher, I began taking students to London for “London and the Theatre Tours” over spring break beginning in 1982 almost every year until my retirement in 2007. In 1988 I took my first of eight 3 week American affiliated seminars at Oxford University, plus other trips here and there.
Once I retired, I went over for a week in the spring and fall for seven years (except for the time of the Icelandic volcano.)

In all that time I saw a lot of plays, especially at the National.

On an Oxford affiliated trip to the New Globe I discovered access to the Thames Riverbank itself and a new obsession was born - mudlarking (beachcombing) for ceramic pottery and other pieces. The Thames in London is a tidal river, and comes up and down 21 feet twice a day. I looked up the Thames/London Bridge Tidal Charts and planned my trips around those.

The best time and place to begin my mudlarking jaunts was just outside St Paul’s Cathedral at the ladder below the Millenium Bridge and the shore there, then across the bridge to the Tate Modern and the New Globe and then west along the river to the National Theatre which conveniently has a nearby set of steps along the Jubilee Walk.

Not only did I see many plays at all three of the National Theatres, but I ended my mudlarking days there for the loos, had lunch or a coffee there, did souvenir shopping, read a book. If I were seeing an evening performance, I enjoyed the excellent dinner buffet and the bars before walking over the Golden Jubilee Bridge to the Embankment and the tube back to the hotel.

Ok, back to the book - while reading it, I kept an on-going list of the plays I had seen there, and the list comes to 19 from the book. Mr Hytner explains that he concentrated mainly on plays he directed himself or with which he had a strong connection. Besides the 19, I can remember at least 7 others that I had seen there - that’s 26 plays in one building. And many times the plays were so sold out that no tickets were available - I especially remember that happening with The History Boys. When I retired, I acquired a membership where I had first choice at seats before the general public - which caused much playing with travel agents, theatre seating charts, and tidal charts.

My most memorable experience was one night when I saw two plays from two different theatres there at the same time. I had a ticket to the play The Kitchen in the Lyttleton Theatre at 8, but there was a 7:30 performance of One Man, Two Guvnors starring James Corden in the Olivier Theatre which was being recorded for the National Theatre Live performances. It was also being presented to the general London public on huge screens outside the theatre, so with my drink in hand I watched it from the roof gallery until my play began at 8, then continued to watch it at intermission.

Other memorable plays seen there include A Little Night Music with Judi Densch, Greg Kinnear in Hamlet, War Horse, Jerry Springer - the Opera, The Lady in the Van with Maggie Smith, The Cherry Orchard, The Seagull, London Road, Mother Courage and her Children with Fiona Shaw (Harry Potter’s Aunt Petunia, The Last of the Haussmans with Julie Waters (Harry Potter’s Molly Weasley), Our Class, Timon of Athens, A Winter’s Tale, England People Very Nice, Sweeney Todd, and a dozen others.


The book itself was extremely interesting with many entries on the actors’ quirks and personalities, sets, props, play selection, ticket prices, costumes and every imaginable aspect of modern theatre.....

[Liquidlasagna · Rating 4 out of 5]

Books about acting and the industry
recommended by Spotlight staff.

Time spent sitting with a book is never wasted. It’s a chance to relax, contemplate, and absorb information entirely at your own pace. When we have time on our hands it’s also an opportunity to branch out and learn more about any number of topics.

There is a vast array of fantastic stories to learn from, be they from fellow performers, teachers, theatre-makers or people who can shine a light on what happens behind the scenes. We've read quite a few of them so we thought we'd share some of our book recommendations with you! Not only are these titles a great read, but you may also learn something that could help your career too.

Books by Performers

1. Character Breakdown by Zawe Ashton
2. Blowing the Bloody Doors Off: And Other Lessons in Life by Michael Caine
3. Life in Parts by Bryan Cranston
4. Behind the Scenes by Judi Dench
5. What's My Motivation? by Michael Simkins
6. Bossypants by Tina Fey

Behind the Scenes Books

1. Balancing Acts: Behind the Scenes at the National Theatre by Nicholas Hytner
2. Quentin Tarantino: Interviews
3. The True Adventures of the World's Greatest Stuntman: My Life as Indiana Jones, James Bond, Superman and Other Movies by Vic Armstrong

Books about Acting Techniques and Tips

1. Stella Adler: The Art of Acting by Howard Kissel
2. Presence: How to Use Positive Energy for Success in Every Situation by Patsy Rodenburg
3. Secrets of Performing Confidence: For Musicians, Singers, Actors and Dancers by Andrew Evans
4. A Life-coaching Approach to Screen Acting by Daniel Dresner
5. Surviving Hollywood: How to Ensure the Acting Industry Doesn't Chew You Up and Spit You Out by Julia Farino

[Basia Korzeniowska · Rating 4 out of 5]

I thoroughly enjoyed this book as it referred to the time when I used to go to the National Theatre a lot, mostly with many children in tow. The National Theatre at this time was also instrumental in giving me a lot of confidence as a teacher, as they had a project called Backstage Pass which schools could sign up to. This gave me the chance to go on many drama courses in order to learn how to teach drama as process - luckily I didn't have to put on a play or anything like that, and I certainly couldn't act or teach acting, but I learnt how to give my kids confidence, and we had a lot of fun. The theatre also provided practitioners to come and do workshops - most notably Jack Pinter and Gill Wright, though there were many others - including Didi Hopkins and Ali Hahlo, who were wonderful with me as I cowered at the back of the room. But back to the book. I saw most of the plays that Hytner writes about and also some he didn't. Best moment was when he came to my school to watch one of the plays that were put on specially for troubled teenagers in schools. so I was glad i found the book. He didn't mention me though!!

[Lydia Housley · Rating 4 out of 5]

A great book to start off 2021 and a lot of fun to read from start to finish, anyone with any interest in British theatre will enjoy reading this. Hytner gives an inside view only he could provide, with plenty of stories about the famous names that have featured at the National during his tenure as Director. I particularly liked that Hytner wasn't afraid to admit his failings in the role and his experiences show in stark reality that theatre during his tenure was by no means perfect in terms of equality, funding or any other area. He does somewhat skirt over the issue that himself and all his predecessors were white Cambridge educated men and that he himself has been succeeded by Rufus Norris, another white man. Clearly there is still progress to be made by the National in this area. Nonetheless, this was a fascinating and often very funny read and I cannot deny that the work produced during Hytner's tenure has strongly influenced my views of what theatre should be and has led me to love the kind of theatre I do today.

[Ben · Rating 4 out of 5]

Nicholas Hytner ran the National Theatre for 12 years and during that time had some big hits with War Horse, Frankenstein and The History Boys to name a few.

He provides some fascinating insights on how plays are commissioned and worked on during the rehearsal process. He is just as revealing on the directing process of how he gets the best out of actors and the different techniques deployed by creatives towards Shakespeare, the classics and new writing.

Above all there are some delightful gossipy backstage stories that he revels in telling. The National Theatre has had its detractors over the years and sometimes justifiably so but Hytner more than makes the case for its continued existence.

[Morag Forbes · Rating 3 out of 5]

Hytner served as artistic director of the National Theatre for 12 years and he has a lot of stories to tell. I am a huge theatre lover and so it was fascinating to learn all about the behind the scenes of how theatre works. A lot of theatre books are about actors so having a book about the actual management, planning, networking and development of making a theatre programme. I especially appreciated Hunter’s focus on making the theatre more accessible and truly representative of society. I think there could have been greater acknowledgement that as a white Cambridge graduate he was coming from a position of privilege and that more could be done to diversify management. The timeline and locations jumped about quite a lot as the chapters were in themes.

[Shelly Dennison · Rating 4 out of 5]

I really enjoyed this - it's a less personal look back at his time at the National than that written by Richard Eyre in his diaries but is still fascinating. Hytner is at his best when discussing Shakespeare and reflecting on his own productions - as an Alan Bennett fan there was lots of interesting stuff on the plays and films they worked on together. Good as a snapshot of theatre at the time and also looks back at Hytner's earlier career. It's not a strictly chronological account but is built round ways of thinking about 'balancing acts' which makes for an intelligent and thoughtful read.

[Ginni · Rating 4 out of 5]

Riveting and fascinating; we've been lucky enough to see some of the productions described here, during Nicholas Hytner's twelve years as the director of the National Theatre. This is a very positive and exciting look at British theatre in recent years; there are plenty of amusing anecdotes about actors and playwrights, and also insights into how plays are chosen and staged. Thoroughly recommended.

[Matthew Wyatt · Rating 3 out of 5]

A great insight into the workings of the National Theatre and the role of Artistic Director. Although a little like a list of NT productions at times, the book contains some delightful anecdotes about some of the best loved actors and writer of today - from Alan Bennett to Richard Griffiths, from James Corden to Frances de la Tour - a very interesting book for theatre lovers and those interested in the National Theatre.

[Alex · Rating 3 out of 5]

Appreciate the candor, and there are some juicy backstage stories (especially interesting to hear about the challenges of War Horse, Frankenstein, His Dark Materials, and others). The recurring motif of "balancing acts" feels somewhat forced, and it didn't quite invigorate me the way I'd hoped. Would probably be more interesting to read a memoir by a stage manager or office assistant. Still, a quick and worthwhile read.

[Becky · Rating 4 out of 5]

I may be biased as one of the NT’s biggest fans, but discovering the stories behind some of the best plays that this institution has produced was fascinating! I want to see all the plays again! Hynter is a well balanced storyteller, and offers an glimpse into the world behind the curtain. A must for any theatre fan!

[Carolyn Thomas · Rating 3 out of 5]

If you are expecting a gossipy behind-the-scenes tell-all you will be disappointed because that it is not. It's a fascinating (but not heavily detailed) look at the processes of choosing and staging plays, with some name dropping, at the National Theatre. The sections I found most interesting were the chapters dealing with The History Boys, War Horse and Shakespeare.

[Leslie · Rating 5 out of 5]

I love a behind-the-scenes-at-the-theater book, & the proper word for this one was delightful. I of course loved all the Shakespeare insights, but best was the behind the scenes stuff on 2 of the best non-Shakespeare plays I’ve ever seen, The History Boys & One Man, Two Guvnors. Such an entertaining read.

[Alexis · Rating 2 out of 5]

Actual rating: 2.5

All of my issues with this novel are my own. I know that I would have truly loved it if I were more familiar with the works of Shakespeare or the other plays discussed. I did love the last few chapters, discussing musicals and more popular works such as War Horse. A great read for someone more familiar with the classics.

[John · Rating 4 out of 5]

A fascinating account of Hytner's time in charge at the National Theatre and a unique glimpse into the production stories behind hits like "One Man Two Guvnors" and "The History Boys". He tells a tale well does our Nick and wisely goes for highlights of his tenure rather than a blow by blow account. His fruitful working relationship with playwright Alan Bennett is fully explored.

[Paul Lancaster · Rating 5 out of 5]

To anyone interested in the development of the National Theatre this is a must read. Fascinating and full of funny anecdotes about an artist director that deserves all the plaudits for helping create a wonderful legacy on London's Southbank. I enjoyed this immensely, especially when it concerned the plays and musicals I was lucky enough to see. Bravo Mr Hytner.