“Are Americans Taking Over Our Theatre?” roared the front page of the London Evening Standard. While Broadway prepares to rouse itself from its summer torpor, the West End bounces along with a Lillian Hellman revival, a David Mamet revival, a David Mamet world première, a new Arthur Miller, an old Tennessee Williams, a (sort of) new Tennessee Williams. Over-praised, over-staged, and over here? Maybe. The British critic Christopher Bigsby compares it with TV and movies—“our cinemas are dominated by The Flintstones”—but without noting that Hollywood’s cultural colonialism stems from its strength at home. Mamet and Miller and company are in London for precisely the opposite reason, which is why everywhere you turn they’re sweet-talking the natives: Gregory Mosher, in town to direct Mamet’s The Cryptogram, says that he can’t think of any young American...

 
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