One may as well begin with Forster, E.M. to state the obvious, called Morgan in Matthew Lopez’ The Inheritance, directed by Stephen Daldry, an ambitious, often powerful two-part epic of gay h…
’s Barrymore Theatre – Lopez and his phenomenally good dozen-plus-member cast will demand a reckoning of the ages, of Forster’s restrictive closet, of Manhattan’s Plague Years and of today’s, well, whatever today is, mean and brutal and not entirely free of hope.
Whether the ambitious Toby loves Eric, or Eric’s apartment, will soon be tested when the wolves of the city’s shifting real estate rules come howling, one of the play’s many bumps that set the dominoes falling. The other two newcomers fall on the younger end of the age spectrum. First arrives the beautiful Adam , a decade or so younger than Toby and Eric, a sharp but empty vessel for all the cultural offerings the brainy Eric can dump in and a wannabe actor for all the benefits that playwright Toby can provide.
Walter, who alone knows he himself is dying, wants desperately to show Eric the home, certain he has found its spiritual caretaker, but dies before doing so. He does, however, leave a scrawled note to Henry – Walter wants the house, which Walter owns, to go to Eric. This, of course, is the inheritance of the title, although a much darker inheritance, passed generation to generation of gay men does not go unacknowledged.
Henry, the self-made conservative billionaire would argue that his responsibility is solely to himself, his family and his stockholders, leaving the rest to his beloved capitalism to disperse the fruits of his labor. Eric’s liberal friends see only greed in Henry, and waste, and hoarding.
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