![]() ![]() The success of these plays, and others that came in their wake, whetted the appetite for British talent. The praise heaped on his reimagining of a 1945 play set in Edwardian England managed to almost entirely overshadow a rival British production of Jim Cartwright's The Rise and Fall of Little Voice, already a winner of an Olivier Award in London. His production of JB Priestley's An Inspector Calls was given an almost unprecedentedly good reception. Fourteen years ago he was hailed as a theatrical genius in the earliest of all the recent waves of British entertainment to hit Broadway. The show is directed by Stephen Daldry, who also made the film, and, should he be lucky enough to win good notices again, the excitement of the opening week might well give him a touch of déjà vu. Next month New Yorkers will have the chance to watch as police riot shields flash and donkey jackets rip in a violent recreation of a miners' strike riot in the Broadway production of the musical Billy Elliot, set in the County Durham of the mid-1980s. ![]() Meanwhile, on Fifth Avenue, the Oxford-educated Brit Thomas P Campbell, is preparing to take over as director of the Metropolitan Museum of Art.īut this newest surge of the British artistic invasion is not just for the highbrow. The next two weeks will prove the point as British filmmaker Penny Woolcock makes her opera-directing debut at the Met with a new production of John Adams's Doctor Atomic. In fact culture, in the broader sense, blown in from England has never been held in higher esteem. ![]()
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