单项选择题

From the headlines about Hollywood actors performing on the London stage, it would be easy to conclude that the relationship was one way—in short, that American film stars stream over to the West End to give its box office a boost. If truth be told, the flow is two way and has been so for quite a while. What has changed of late, however, is the pace of the exchange. The recent headlines about American stars taking over the London stage obscures a much more symbiotic relationship between Broadway and the West End that’s rooted as much in an exchange of ideas and material as in talent alone.
Barry Weissler, a producer and winner of five Tony awards for revivals such as "Fiddler on the Roof" and "Chicago", believes the relationship continues to flourish because of the contrasting acting traditions on either side of the Atlantic. "We give London more open, spontaneous and gutsy acting, while the United Kingdom gives us more disciplined and artistically trained actors. "
The exchange of performers between the West End and the Great White Way is tightly controlled by Equity, the separate but similarly named actors’ unions on either side of the Atlantic. The absurd rule is one American actor in the West End for one British actor on Broadway. This also applies to entire productions. For instance, David Leveaux’s production of Tom Stoppard’s play "The Real Thing" transferred from London to Broadway in 2000 in exchange for Michael Mayer’s "Side Man".
The benefits of exchanges can still be huge, especially for the actors. A Broadway break for a British performer can be the start of a Hollywood career, while American stars can accrue considerable kudos for their acting credentials by appearing on the London stage.
The West End is also considered a more amenable and less cut-throat launching pad for productions—especially those of a sensitive nature, such as 2004’s surprise hit "Guantdnamo", a political docudrama about life in Guantanamo Bay prison camp. The play’s director, Nicolas Kent, points out that, because Broadway is governed largely by what one particular newspaper (the New York Times) thinks about a production, many producers and playwrights prefer not to risk previewing a new work on Broadway. Maria Rubin, a co-producer of the recent West End hit "Festen", reckons that "the more a piece is nurtured in London, the better its chance of succeeding on Broadway. " The play’s West End run was extended twice, and will transfer to Broadway this autumn.
For the British, the main attraction of a Broadway run is financial, although the stakes are high as it costs about three times as much to launch in New York as in London, Certainly, box offices on both sides of the Atlantic have been boosted by the increased amount of cross-pollination between the two most prolific stages in the English-speaking world. Expect to see relations between Broadway and the West End get even more incestuous in the year ahead.
Broadway finds favor in the British eyes because ______.