When the world is topsy-turvy, the theatergoing public seeks explanations. Arthur Miller provides something better: moral intelligence. He doesn’t tell his audience what to think but challenges them to think harder. There’s clearly a hunger right now for Miller’s work. His plays are back in high demand in Los Angeles, New York and London. A new revival of “Death of a Salesman,” starring Nathan Lane and Laurie Metcalf, is in previews on Broadway. And a less starry production of Miller’s masterpiece opened last weekend at Pasadena’s A Noise Within. “All My Sons,” Miller’s breakthrough play about capitalism’s warped ethics in the guise of a domestic drama, just finished a successful run at Antaeus Theatre Company in Glendale. And National Theatre Live will screen the recent London production, starring Bryan Cranston and Marianne Jean-Baptiste, in April and May courtesy of Boston Court Pasadena and L.A. Theatre Works. (Late last year, I caught a screening at the Wallis of another London revival, the 2019 production starring Bill Pullman and Sally Field.) Dana Dewes and Scott G. Jackson …