Alan Bennett’s acclaimed play, “The History Boys,” is returning to the West End after a twenty-year absence. Its eagerly anticipated revival comes amidst a stark warning from director Nicholas Hytner concerning the severe humanities decline in state schools. This popular production, celebrated as the nation’s favourite, will soon reopen in London.
Hytner, who helmed the original National Theatre staging and its 2006 film adaptation, highlighted a “near terminal decline” in subjects such as music, drama, history, and modern languages. He firmly argues that neglecting these crucial areas has proven detrimental for both individual students and the nation’s economic future. Therefore, the play’s enduring themes of education and literature’s intrinsic value resonate strongly today, underscoring the gravity of the humanities decline.
The new run will commence on April 10 at the Theatre Royal Haymarket, scheduled for a 16-week engagement. This production notably reunites Hytner with original designer Bob Crowley. Furthermore, Alan Bennett himself will actively contribute to its development.
“The History Boys” originally debuted at the National Theatre in 2004, subsequently transferring to the West End and Broadway. It garnered significant international acclaim, securing three Olivier awards and six Tonys. Moreover, it launched the illustrious careers of actors such as James Corden, Russell Tovey, and Dominic Cooper.
Set in 1980s Sheffield, the play follows eight grammar school boys preparing for demanding university entrance exams. Their education unfolds under two teachers, each possessing contrasting pedagogical philosophies. Poignant and sharply comic, the narrative delves deeply into adolescence, sexuality, and the tension between learning for academic achievement versus learning for its own sake.
Hytner initially approached Bennett about a revival. While typically cautious about re-stagings of his work, Bennett expressed keen enthusiasm. He called “The History Boys” one of his happiest and quickest plays to write. He also noted its quotable nature, warmly welcoming its return under Hytner’s direction.
The play’s return coincides with the government’s first significant review of the national curriculum and GCSEs in over a decade. Public consultations began last September, with a revised curriculum expected in spring 2027. Hytner suggests current educational focuses might be outdated, especially with the rapid rise of AI. He champions creativity and the appreciation of others’ art as vital skills, advocating for the humanities as a fundamental “birthright” for all students.
Hytner hopes the production will profoundly connect with a younger generation. Many young people, he observes, feel “ambivalent about social media.” They often desire “conversational spontaneity” and the ability to “concentrate and immerse themselves outside of social media.”
The production is expected to evolve, much like its initial run between the National Theatre and Broadway. Any adjustments, however, will involve Bennett’s direct input. Significantly, the revival will again feature emerging talent. Hytner promises an unknown cast, emphasizing that this focus on new actors is central to the production’s ethos.
Hytner recounted an early challenge with one of the play’s most farcical scenes. It depicts teacher Hector leading a French charade about a brothel visit, culminating in the headteacher’s unexpected entry. The original cast initially doubted its comedic value. However, the scene famously brought the house down during the first preview, much to the young actors’ delight.
