New British drama is the rage of Europe. Two weeks ago a discussion on British theatre packed out the old postwar Piccolo Teatro in Milan. Since then Katie Mitchell's revelatory production of Martin Crimp's Attempts On Her Life has played to large, enthusiastic audiences in the new Piccolo's spacious Studio. On the way out of a performance I was accosted by a student desperate to know more about the new wave of British dramatists: a reminder that our plays, as much as our films, fashion or even football, presently define the image of Britain abroad.