It’s August 4 1994. I’m sitting next to Arthur Miller and his wife, Inge Morath, in the National’s Lyttelton Theatre on the opening night of his latest play, Broken Glass, which I have directed. I’ve worked with Arthur on seven of his plays and got to know him well, so I can tell he’s excited, even though he hasn’t had a major success of a new play for years and the American premiere – his first on Broadway since 1980 – has not been well received. That failure particularly stung him because Broken Glass’s striking, contentious scenario addresses Jewish themes...
Monitoring Antisemitism Intel
