Nicholas Hytner

 ( 1956 Births ) 

Hytner's role as Director of the National involved decisions about what plays are staged. "Essentially what I do is produce 20 shows a year here," he stated in one interview. "To produce as opposed to direct, as I generate the ideas, generate the repertoire. What I do is put together the team that are going to stage the repertoire together then stand back and come in at a later stage to see how it's all going." (Hytner also directed plays himself at the National, and all his theatre work during his period as Director originated there.) But his role was also about the overall direction of the National Theatre as an organisation. "It would be wrong to say that I confine myself only to the repertoire – I don't. I think how we allocate our resources, exactly what we spend money on, is always an artistic decision. I think the amount of attention we give to what goes on in the foyers, what goes on outside, how the building looks at night, the amount of attention we give to our education work and our website are all artistic matters. They all stem from a sense of the artistic direction of the organization."

Under Hytner's directorship, the National innovated with Sunday openings, live cinema broadcasts of NT plays around the world, National Theatre Live, and with its reduced price ticket seasons. These seasons, sponsored by Travelex, offered large numbers of reduced price seats (for £10 when the scheme was introduced in 2003, with prices rising to £12 from 2011). The reduced price seasons were credited with achieving high usage for the Olivier auditorium – between 90% and 100% full during the summer months compared to a historic average of 65%, with no loss in overall income, and with encouraging a younger and more diverse audience. In 2003 it was reported that one third of the audience for the multiracial production of Henry V in modern dress (directed by Hytner) had never been to the theatre before, and that a large section of the audience for the drama Elmina's Kitchen were Black east Londoners new to the National.

Hytner has said that this diversity was a consequence of the theatre's direction rather than the motivation for it. "I think our repertoire is more diverse than it's ever been," he said, "and I think that reflects a more diverse society and a more diverse audience. The aim, though, was not to go out and find a diverse audience but for the repertoire to reflect a greater diversity in our culture." He also said: "The repertoire should reflect the world we're part of, and it should put the society in which we live in the context of the past and, as far as we can, of the wider world."

Another of Hytner's innovations was NT Future, a £70 million scheme (of which £59 million had been raised at October 2012) to open up the National's building and to contribute to the regeneration of the South Bank, to transform facilities for education and participation, and to keep ahead of new technologies and the changing needs of theatre artists and audiences.

Hytner stated as early as 2010 that he did not wish to stay as head of the National indefinitely, saying, "I've been here seven years. My predecessors have averaged 12. It's important that someone else comes in and shakes it up again so I won't be here in 10 years, that's for sure." In April 2013, he announced that he would step down as Director of the National Theatre at the end of March 2015. In his role as Director of National Theatre, he appeared on the Cultural Exchange as part of the Radio Four programme Front Row, where he chose The Marriage of Figaro by Mozart as his work of art.

The London Theatre Company also opened another venue with 59 Productions, The Lightroom in King's Cross, London in February 2023 used for immersive artist-led exhibitions which will also eventually become a theatrical space.

Similarly, most of Hytner's films have achieved critical and commercial success, with The Madness of King George winning BAFTA and Evening Standard awards for best British film, but he still sees himself as primarily a theatre practitioner. "I think I'm a theatre director who does other stuff," he has said. "I can't see myself as a film-maker. I love doing opera when ever I've done it, but I always see myself as visiting from the theatre, which is where I belong. The real film-maker thinks with a camera, which is something I just can't do."