The Stone
Royal Court, London
BRITISH playwriting must be in the doldrums. Everywhere you look, it is American plays that are getting audiences excited – from West End revivals of classics such as Arthur Miller’s A View from the Bridge (at the Duke of Yorks) theatre to off-West End arrivals such as the multi-award-garnering Spring Awakening (at the Lyric, Hammersmith). Even the Royal Court, once a powerhouse of British new writing, is increasingly promoting American and European work.
