You should definitely see ‘The Inheritance’ on Broadway. Just forget all the hype surrounding it. Read our review
lacks the bold originality and soaring poetic reach of Kushner’s masterpiece. Lopez lets his ideas spill over onstage, shifting into dramatic detours as if his damned-up passions could not be contained.may be unwieldy, repetitive, and all over the place, but it’s gripping from first scene to last.
This brings up another shadow besides Kushner’s that Lopez has to stand in. That would be closeted author E.M. Forster, whose landmark 1910 novelas a blueprint for the social and sexual mores that permeate modern Manhattan. Where Forster kept his forbidden desire under wraps, Lopez makes sure his play pulses with eroticism., it actually puts Forster center stage.
In a deathbed note, Walter leaves Eric a rundown house in upstate New York, dominated by a garden and a large cherry tree. The house, a three-hour drive from Manhattan, is the place where Walter once tended to men afflicted by AIDs. Shockingly, the note is burned by Walter’s longtime companion Henry Wilcox, a billionaire real estate developer . Lopez refuses to reduce Henry — a Republican and unapologetic Trump donor — to a conventional villain.
How Eric finds his path to the country house that is his true inheritance — just as Margaret does to Howards End — is the crux of the play. Crowded with incident and characters — the great Lois Smith appears late in the proceedings as the regretful mother of an afflicted son she once spurned —seems at times to fly off the rails into borrowed inspiration, issue-mongering, flagrant didacticism and dramatic incoherence. But its soul-stirring sincerity is never in question.
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