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The ‘Plaza Suite’ Snark is Disingenuous #metoo

Plaza Suite By Neil Simon, Directed By John Benjamin Hickey, Sarah Jessica Parker, Mathew Broderick (Joan Marcus)

In his snarky review of Neil Simon’s Plaza Suite, the New York Times’ critic’s “clever,” oh so “entertaining” disposal of the John Benjamin Hickey production into the garbage bin of hideous fustiness seems misguided. To the critic’s dunning I shout, “Au contraire!” The production starring Matthew Broderick and Sarah Jessica Parker offers a unique, glimmering reflection of the past. It is a past that we need to be reminded of. If one peers into that reflection, and considers the interactions of the characters, one sees how intelligent females bested their male counterparts with surreptitious abandon, superior wit, and brilliant irony. If one’s view is dim and dark, like the NYT critic, one sees little.

From my humble female perspective, one also considers via this production, that between then and now, with all of the hell raising and insistence on progress, and change between straight men’s and women’s relationships, nothing much has changed. Don’t believe me? Have you read any good Evangelical books lately? Have you lived in the South for any period of time, recently? All right, maybe that doesn’t make sense to you.

Plaza Suite By Neil Simon Directed By John Benjamin Hickey, Sarah Jessica Parker (Joan Marcus)

Well, I will remind you about that pesky statistic (one in four women are violently abused by their partners), that has yet to budge off its number. Abusing females is alive and well, and that’s despite #metoo which is a meme that only applies to the celebrated, rich and famous, including well-paid male theater critics. In plebian circles if a woman attempts to speak up, a hand often goes upside her head. And what happens after that is anyone’s guess.

That Simon exults in the superiority and cleverness of each of the female characters in the play is lost on the critic which is understandable as he is not a female. He is a male looking in and once again judging the female characters and finding them and the production fusty, dusty and musty. Unfortunately, he shallowly superimposes his #metoo version of the female perspective on the characters, thus making the push to be politically correct all the more hypocritical and disingenuous. And frankly some of it is nonsensical, though there appears to be “logic” in what he is doing because the piece is well edited. Is his editor a male too?

Plaza Suite By Neil Simon, Directed By John Benjamin Hickey, Sarah Jessica Parker (Joan Marcus)

Ah, forget what I just stated. Be overwhelmed by the “smart attitude” of the New York Times critic who displays his own “genius,” sense of privilege and arrogance via his male writerly superiority, which is nowhere near the genius of say, Gore Vidal (a favorite of mine). So caught up in admiring his style in the mirror, he misses the themes and the currency of Hickey’s vision. He also misses the fact that relationships between men and women have gone nowhere because human misunderstanding and fear and inability to confront death and lies by keeping them at bay through self- manipulation is an everpresent fact encompassing the relationships, in Plaza Suite.

But none of that was picked up by the critic to whom the 1960s was such a thing of the past, it doesn’t exist in his imagination; nor does he appear to want to be reminded of it, if it did exist.

Plaza Suite By Neil Simon, Directed By John Benjamin Hickey, Sarah Jessica Parker (Joan Marcus)

Instead, what is of great importance to him, it would seem, is bowing to politically correct memes. Tragically, that is a blindness and acute hypocrisy. Currently, I boycott the New York Times. I am tired of the same pap from this particular NYT critic whose dullness would be raw meat for Noel Coward, if he were alive. I stumbled upon the review clued in by a studio professor, and well-produced playwright who mentioned the tenor of the review because he knows such pablum makes me livid.

The privilege he displays is a long-held tradition at the New York Times. Females, largely absent in theater as critics, directors, etc., commented upon by Director Rachel Chauvin in her acceptance speech for Hadestown is an example of how #mettoo doesn’t work in the theater world. Perhaps the reason is that female critics and reviewers are not #metoo politically correct enough. Perhaps females don’t remind us enough that various productions are not “politically correct.” Shall I discuss LGBTQ?

Plaza Suite By Neil Simon, Directed By John Benjamin Hickey, Sarah Jessica Parker, Mathew Broderick (Joan Marcus)

Truly. Perhaps for future productions directors and producers should wipe out the canon of plays written before 2017 and #metoo, etc., as worthless. What could possibly be learned from them?  

Indeed, if critics are to genuinely benefit audiences who see plays, then they must perceive, think and above all go deep. First, understand what the director’s vision is. Is the director presenting that which on first assumption perhaps the critic didn’t get? Does it pass the audience test?

The night I saw the production, Plaza Suite did pass the audience test. They enjoyed it. Thus, I agree to disagree with the NYT and the Wall Street Journal critics. The below review, which also appeared in Sandi Durell’s Theater Pizzaz explains why.

Plaza Suite By Neil Simon, Directed By John Benjamin Hickey, Mathew Broderick (Joan Marcus)

My Review of Plaza Suite: A Female Perspective

Judging by the applause as the curtain lifts and John Lee Beatty’s luxurious, shimmering set for Plaza Suite unveils, director John Benjamin Hickey’s glorious throwback to the gilded Broadway of “yesteryear,” intimates a night of enjoyment. Coupled with its second harbinger of success, enthusiastic cheers at the entrances of the husband-and-wife team Sarah Jessica Parker and Matthew Broderick, the Neil Simon revival emblazons itself a smash even before Karen (Parker) and Sam (Broderick) have their first disagreement.

Plaza Suite By Neil Simon, Directed By John Benjamin Hickey, Sarah Jessica Parker, Mathew Broderick (Joan Marcus)

Not one moment falters in the pacing or mounting crescendo of hilarity in this superbly configured production about a suite of rooms (a conceit knock-off of Noel Coward’s Suite in Three Keys). There, visitors from Mamaroneck, Hollywood and Forest Hills play out their dreams and face their foibles in room 719 at the historic Plaza Hotel. That the place is still standing is a source of Simon witticisms.

Apparently, rumors of its being bought over by rapacious developers to be torn down making way for state-of-the-art buildings even existed at Simon’s writing. The theme of the ugly new replacing the beautiful old and historic as a pounding mantra of New York City is everpresent and a sometime theme in the triptych of playlets about couples.

Plaza Suite By Neil Simon, Directed By John Benjamin Hickey, Mathew Broderick (Joan Marcus)

Hickey shepherds Parker’s and Broderick’s performances, delivered with “effortless” aplomb, gyrating from one comedic flourish to another to the amazing farcical finale. Authentically and specifically (gestures, mannerisms, presence, posture), they hone the characterizations of three disparate couples, breathing into them the humanity we’ve all come to love and loathe. We didn’t want the fun to end, and it was apparent that neither did they.  

The few times they broke each other up or comfortably ad libbed, they let the audience in on the endearing fact that they were having a blast. That mutuality between audience and performers was doubly so because they’ve been waiting to perform for two years of COVID hell. Happy to be back in front of a live audience, their enthusiasm was communicated by the ineffable electricity that happens in live performance and changes nightly because of the audience’s diverse sensibilities. The performers vibrated. The audience vibrated back. The circle completed and rolled around for the next laugh which topped the next.

Plaza Suite By Neil Simon, Directed By John Benjamin Hickey, Sarah Jessica Parker (Joan Marcus)

Ingeniously entertaining, incredibly performed, Plaza Suite at the Hudson Theatre which runs for a limited engagement is a spectacular winner. Here’s why you should see it.

Though Neil Simon’s concept that he lifted from Coward has been reshaped and used by playwrights and screenwriters since the 1960s when Simon wrote Plaza Suite, the production gives it a unique uplift because of its specificity and attention to detail. Importantly, viewed through a historical lens, the relationships, character intentions and conflicts ring with comical verities. Wisely, Hickey allows the characters inhabited by these sterling performers to chronicle the values and folkways of the sixties which were a turning point in our society and culture. The understanding that arises from Simon’s exploration suggests why we are where we are today.

 Finally, using humor the play deeply touches on seminal and timeless human topics: fear of aging, seduction, loneliness, marriage unsustainability, the generation gap and more.    

In the first playlet, Karen’s Mamoneck housewife chafes in a relationship which she unconsciously senses has soured. She books Suite 719 to celebrate her anniversary with Sam and ironically initiates the reverse.

Plaza Suite By Neil Simon, Directed By John Benjamin Hickey, Sarah Jessica Parker (Joan Marcus)

Listening carefully and watching Parker’s Karen, noting her plain outfit and hairstyle and comparing it to Broderick’s Sam, the laconic, dapper, sharp, appearance obsessed businessman, we should anticipate what will happen. We don’t because Simon’s keen, witty dialogue of thrust and parry between Sam and Karen keeps us laughing and because the performances are so spot-on, in the moment, we, like the characters, don’t know what’s happening next. However, of course, Broderick and Parker do. Yet, they are so alive onstage, that the characters’ reactions remain a surprise and the revelations are unanticipated.

Karen’s ironic subtext brilliantly digging at Sam to confess he’s having an affair is wonderful dialogue expertly delivered. A few of Parker’s lines bring down the house with her sharply paced delivery. One is her crackerjack response to Sam’s “What are we going to do.” Without a blink Parker’s “You’re taken care of. I’m the one who needs an activity,” receives audience whoops and hollers. An age-old event of cheating and adultery is born anew.

Plaza Suite By Neil Simon, Directed By John Benjamin Hickey, Sarah Jessica Parker (Joan Marcus)

Simon’s snapping-turtle dialogue in the face of today’s hackneyed insult humor is wickedly scintillating. In the Hollywood seduction playlet, High School sweethearts become reacquainted. Broderick’s smarmy Hollywood producer Jesse Kiplinger decked out in his Mod finest is a classless nerd who confesses his unhappiness with the Hollywood slime set and his three *&$% ex-wives who take not only his money but his guts and soul. Muriel in Parker’s equivalent of her fashionable self in the ‘60s, is enthralled by Jesse’s Hollywood persona, but is in keeping with the innocent, demure women Jesse remembers. The hilarity builds into what becomes a reverse seduction scene by a steaming married woman when they “get down to brass tacks.”

All stops are pulled in “A Visitor from Forest Hills.” The costumes (Jane Greenwood), the hair and wig design (Tom Watson), contribute to building the maximum LMAO riot. The inherent action and zany organic characterizations by Broderick and Parker augment to hysteria when Mimsey refuses to attend her own wedding and ensconces herself in the bathroom.

Plaza Suite,, By Neil Simon Directed By John Benjamin Hickey, Sarah Jessica Parker, Mathew Broderick (Joan Marcus)

Norma and Roy implore Mimsey attempting to psychologically manipulate her and each other to get her to come out. Parker and Broderick effectively create the image of their daughter crying, possibly suicidal, as she remains unseen, silent and incorrigible behind the sturdy, unbreakable bathroom door. Desperate to stem a disastrous day, Broderick’s “out of his mind with frustration” Roy even goes out on the ledge and braves a pigeon attack and thunderstorm to wrangle in his wayward child. Broderick’s mien and gestures bring on belly laughs.

What they do to move heaven and earth to get Mimsey to come out is priceless comedy that is easier than it looks. The frustration and fury the actors convey with the proper balance to appear realistic yet crazy and smack-me funny is what makes this over-the-top segment fabulous.

Kudos to the artistic team which includes Brian MacDevitt (lighting design) and Scott Lehrer (sound design). For tickets go to https://plazasuitebroadway.com/

‘The Inheritance,’ Inspired by E.M. Forester’s ‘Howard’s End’ a Chronicle of Gay Life, Poignant, Humorously Ironic, Triumphant

Samuel H. Levine, Kyle Soller, Kyle harris, Arturo Luis Soria, JOrdan Barbour, Daryl Gene Daughtry Jr.

(L to R): Samuel H. Levine, Kyle Soller, Kyle Harris, Arturo Luis Soria, JOrdan Barbour, (foreground) Daryl Gene Daughtry Jr. in ‘The Inheritance,’ Part I, Part II, written by Matthew Lopez inspired by E.M. Forester’s ‘Howard’s End,’ directed by Stephen Daldry, design by Bob Crowley (Matthew Murphy)

How does one tell one’s story digging out the mired treasure amidst the refuse of time, personalities, relationships squandered, brilliant aphorisms and droplets of wisdom tossed away unheeded? Indeed! As most people end up doing, you don’t tell it; you live it and consign it to memory fragments which may become obliterated by dementia or Alzheimer’s. Or you move it into imagination realized, accessing a work of fiction as your inspiration and using a parallel plot platform to guide you.

Additionally, if you elicit the help of the spiritual consciousness of E. M. Forester as your literary muse employing Howard’s End as the fulcrum of evolving social mores in turn-of-the-century England (to mimic late 20th-century America) you will do as the ingenious Matthew Lopez (The Whipping Man, The Legend of Georgia McBride) did. You will write a masterwork. For Lopez is it The Inheritance. And if you are fortunate to premiere your play at London’s Young Vic with an exciting, prodigiously talented cast, it just may transfer successfully to Broadway a year later because of its sterling, award-winning particularity and emotional poignancy; this despite a few expositional plot convolutions and character snags.

The intriguing convention of materializing E.M. Forester as a professor who surfs the crest of wisdom’s waves into the shoreline consciousness of a cadre of gay writers (clever opening scene) is one of the high-points of Matthew Lopez’s The Inheritance, proudly unleashing its almost seven hours, four acts and large cast at the Ethel Barrymore Theatre.

In Lopez’s work Forester, is known by his middle name Morgan. Brilliantly portrayed by Paul Hilton, as the sensitive, focused and refined gentleman gay writer who hung in the shadows of respectability and didn’t “indulge” ’til his thirties, Hilton balances just enough loving instruction in shepherding the writers, and specifically Leo (Samuel L. Levine) in how to write their stories with sage advice exemplified in his novel. As he steers them in dramatic directions, they configure plot elements and “act” the characters in Leo’s story. Additionally, Hilton’s performance of Forester doubling as Henry Wilcox’ thirty-five year love interest Walter Poole is, bar none, glorious. John Benjamin Hickey as Wilcox is his fine counterpart.

(L to R): Jordan Barbour, Darryl Gene Daughtry Jr., Kyle Soller, Arturo Luis Soria, Kyle Harris, The Inheritance, Matthew Lopez, Stephen Daldry, Bob Crowley

(L to R): Jordan Barbour, Darryl Gene Daughtry Jr., Kyle Soller, Arturo Luis Soria, Kyle Harris, The Inheritance,’ directed by Stephen Daldry, designed by Bob Crowley, written by Matthew Lopez inspired by the novel ‘Howards End’ by E.M. Forster (Matthew Murphy)

Actually, the role of Forester could have been extended. Some of the business representing the cadre’s snide, material, mimed psycho-sexual behaviors and gay bitchiness in their choral presentments could have been shaved to fine points of crystal clarity without losing context or meaning. These changes may have enhanced thematic textures. Left as is, the cadre’s force is diluted and the staged movements of mimed sex which might have been acutely rendered as a dance are merely a  humorous contrast to the deeper relationships in the play as well as a privileged indulgence since sexual hedonism isn’t a problem in 2018 with drugs like Truvada, PrEP and DESCOVY®. However, this superficializes the characters who are unnecessarily demeaned in what appears to be their gratuitous behavior, when they are far better than narcissistic overlords of themselves and each other.

As Forester guides his charges into how to extract the seminal moments of the story of their lives, we meet the key players who portray the protagonists and antagonists. Ironically, with authorial deification these players also get to comment on their character’s choices and the direction of their lives. Thus, in a wonderful twist, Lopez has the characters live and have their being while choosing their actions as they help Leo realize the most dramatic elements of the story.

The most humorous and finely realized manifestation of this occurs with the character of Toby Darling (the gobsmacking Andrew Burnap) whose seven year relationship with Eric crashes and burns mostly because he undoes it with careless abandon. Burnap adroitly, prodigiously walks the Toby tightrope. Representatively, Burnap’s supercharged Toby is the gay everyman of the previous generation before the AIDS epidemic: a cavalier, “full-of-himself,” gorgeous, sizzling, sexual powder-keg who masks the bleeding, soul raw, emotional victim of his own despairing gayness that writhes within.

The cast of The Inheritance, Matthew Lopez, Stephen Daldry, Bob Crowley

The cast of ‘The Inheritance,’ directed by Stephen Daldry, designed by Bob Crowley, written by Matthew Lopez inspired by the novel ‘Howards End’ by E.M. Forster (Matthew Murphy)

Also, Lopez’s characterization of Toby as the successful novelist-cum Broadway playwright whose work will be made into a film, shines in a quaint “theater of the absurd” trope. Toby is the epitome of the actor searching for a character, massaging and sometimes insistently demanding the writing cadre, Forester and lead author-Leo do what he wishes. The outraged humor Burnap engenders as he attempts to write himself into a finer presentation and less painful destiny is wonderful. That he fails to influence Leo and the others to give him what he wants by the conclusion of the production is poignant, stark and even more wonderful.

His is an end which has no spiritual return because he optimizes his final choice and upends our expectations that he will die of AIDS. Lopez’s irony of and about Toby Darling is acute. As he declines, Leo ascends to a greater success, topping Toby’s spurious, specious novel (which Toby accuses himself of writing) with a powerful, truthful authenticity.

This is one of the many twists upon twists that Lopez effects that eventually is swallowed up by the themes and curiosity of paralleling Howard’s End and revealing how the cadre helps Leo tell the story of his complicated and amazing Horatio Alger-like rise. It is an evolution whose possibilities Leo inherited from the sacrifice of others who had gone before him in a long succession of gays shamed and ostracized. Lopez has his writers discuss Forester’s internalization of shame as they allude to gays of previous generations, who like Forester, had to hide in the shadows of oppression because of the social opprobrium and stench of perversion that branded gay men with the red letter F for faggot, a word that is still used to bludgeon gays today in various areas of our nation.

John Benjamin Hickey, Kyle Soller, Arturo Luis Soria, Darryl Gene Daughtry Jr., Dylan Frederick, Kyle Harris, The Inheritance, Matthew Lopez, Stephen Daldry, Bob Crowley

John Benjamin Hickey, Kyle Soller, Arturo Luis Soria, Darryl Gene Daughtry Jr., Dylan Frederik, Kyle Harris in ‘The Inheritance,’ directed by Stephen Daldry, designed by Bob Crowley, written by Matthew Lopez inspired by the novel ‘Howards End’ by E.M. Forster (Matthew Murphy)

Homosexuality was an anathema that spawned abuse, brutalization and murder until it was answered for all time by the 1969 riots at Stonewall Inn in Greenwich Village. Forester who never “came out” publicly to stand for the cause as he could have, died a year after Stonewall. He never submitted his one novel about same-sex love for publication because such love was verboten. Forester deemed Maurice not “worth” publishing for the hell it would bring him, though clearly, it would have helped thousands come to grip with their own traumatized feelings.

Interestingly, as the writer cadre discusses this, they accuse Forester of cowardice. He avers, but he, too, is a part of the inheritance that burgeons today. The Stonewallers who fomented that iconic, historic event symbolically stood for gays globally; all benefited as the gay rights movement began its march into the future light of social acceptance. And Forester’s Maurice was published in 1971, within a mere year and one-half after Stonewall.

Gradually, Lopez’s characters unravel their storied relationships and relate how the previous generation’s sacrifice paved the way for their current oblivion enjoying their Lotus-Land sense of privilege and freedom from the ponderous, fearful irrevocable death-filled virus which Lopez’s characters quaintly refer to in the past tense as “the plague” and the “war.” Their nonchalant twitting jokes and discussion about “Camp” rise to high-turned humor. Is that all there is to discuss?

With gay marriage made legal, there are very few hurdles that remain left for the gay community who are free, in most cities globally, to be whom they please. The problem is, they must reconcile themselves with the past which always looms its insanity into the present. Toby is a prime example of how, regardless of the external strides the culture makes, freedom also originates from within; we must conquer ourselves conjointly as we battle the prejudices, discrimination and hatred of individuals we may meet in society.

Paul Hilton, The Inheritance, Matthew Lopez, Stephen Daldry, Bob Crowley

Paul Hilton in ‘The Inheritance,’ directed by Stephen Daldry, designed by Bob Crowley, written by Matthew Lopez inspired by the novel ‘Howards End’ by E.M. Forster (Matthew Murphy)

In keeping with this truism/theme of the play, we note Toby’s mismatched relationship with Eric Glass (Kyle Soller) a social activist who understands the full doom of Trump’s win and how it will impact every current policy from health care to the Paris Climate Accord to gay rights. While Toby basks in the fame of his novel’s success then prepares for the opening of his play on Broadway, he slowly disintegrates eaten inside out from trying to keep his lies suppressed. Meanwhile, Eric Glass befriends upstairs neighbor, frail Walter Poole, whose partner the robust titan of industry, Henry Wilcox has little time for.

From this foursome Lopez strikes loose parallels with Howard’s End: the Schleigel sisters (Eric and Toby) and Mr. and Mrs. Wilcox (Walter Poole and Henry Wilcox). Lopez furthers the complications with these relationships to eventually cue in Leo’s metamorphosis and Toby’s disintegration.

Henry was married with two sons; when his wife died he became enamored with Walter. They coupled and Walter lovingly raised the boys, maintaining the family dynamic while Henry often was away on business. Toby grows apart from Eric as he bathes in his success and becomes attracted to actor Adam (Samuel H. Levine) the wealthy counterpart of the homeless, uneducated, look alike hustler Leo who eventually writes the story of their lives. Toby and Eric split and Eric is devastated. Walter dies; Henry is devastated. Walter leaves a house upstate to Eric. Walter intuits that Eric spiritually can be the caretaker of the house because of his generous, charitable nature. However, Walter’s death bed wishes are not honored when Henry, motivated by his grasping sons, denies Walter’s request and burns the paper on which he wrote his “last will and testament.”

Kyle Soller, Paul Hilton, John Benjamin Hickey, The Inheritance, Matthew Lopez, Stephen Daldry, Bob Crowley

(L to R): Kyle Soller, Paul Hilton, John Benjamin Hickey in ‘The Inheritance,’ directed by Stephen Daldry, designed by Bob Crowley, written by Matthew Lopez inspired by the novel ‘Howards End’ by E.M. Forster (Matthew Murphy)

From then and there the conflict augments and we become intrigued as to how the upstate house will eventually land in Eric’s lap, for surely he is more deserving than Henry’s crass sons.

The mystery why Walter bequeaths the house to Eric (it is staged as a miniature replica colonial, back lit, opening up to reveal rooms and furniture in an adroit, beautiful, sleight-of-hand design by Bob Crowley) becomes revealed by the end of Part I. It is a stunning revelation tied in to the inheritance the previous gay generation left our writer cadre of the present. That generation was a community of which Walter was one of the last to die.

This greatest generation of the “war” from the last two decades of the 20th century experienced the scourge and crucible of fatal autoimmune deficiencies. These were the lost generation. They never came out  from under the torments and tribulations of the AIDS epidemic that struck thousands of the most gifted and talented in the artistic world who often died alone, unloved, invisible, without hope, the spurned contagious lepers of their time, their blood toxic to the touch. It was only until after the gay community, celebrities, politicians and other notables joined together to pressure scientific researchers to conquer the disease with the right cocktail of medications that the AIDS war ended. Theirs was an amazing endeavor that took twenty years. But for this war generation who died, one after the other expending their blood, sweat and tears, the current writers would not be able to luxuriate in indulgent sex without concerns about contracting dreaded kaposi’s sarcoma.

Samuel H. Levine, Kyle Soller, Andrew Burnap, The Inheritance, Matthew Lopez, Stephen Daldry, Bob Crowley

(L to R): Samuel H. Levine, Kyle Soller, Andrew Burnap in ‘The Inheritance,’ Part I, Part II, written by Matthew Lopez inspired by E.M. Forester’s ‘Howard’s End,’ directed by Stephen Daldry, design by Bob Crowley (Marc Brenner)

Walter’s loving nature inspired him to take in many of the AIDS generation who were dying. He took care of them in the upstate house, much to Henry’s great chagrin. But the moral imperative was great and he nursed the dying victims of “the war” at this serene refuge assisted by Margaret (the wonderful Lois Smith who shows up in Part II) who also lost a son to “the plague.” Thus, the dying don’t have to face the fear and darkness alone, but endure it knowing they are loved. As Eric is told the story others appear to verify the beauty and sacrifice of this war generation so that current members of the gay community might live in a greater peace, free from the noxious, soul-draining, heartbreaking physical wasting of AIDS.

As the end of Part I spools into eternity, we recognize that this is not only a play about the gay community (the tableau of them sitting around Bob Crowley’s white platform leaning on each other is fabulously akin to a famous Renaissance painting). Others were impacted by “the plague.” And they are no less important; the disease didn’t discriminate; toxic blood contamination was passed to others, male, female, straight, gay, transgender, children, elders, those of every ethnic culture. The difference is the cruel ostracism of being gay was further heightened by having AIDS. Stonewall could not answer a scourge, only medical science can, racing against death. And it did!

Finally, as Part I concludes, Lopez reminds us that while we live, we prepare a place for the next generation through our struggles, our trials and our difficulties. And it is this journey that must be told, even shouted from the rooftops to the younger generation who are our inheritors.

Lois Smith, Samuel H. Levine, The Inheritance Matthew Lopez, Stephen Daldry, Bob Crowley,

Lois Smith, Samuel H. Levine in ‘The Inheritance,’ directed by Stephen Daldry, designed by Bob Crowley, written by Matthew Lopez inspired by the novel ‘Howards End’ by E.M. Forster (Matthew Murphy)

If Part II is not as haunting and dense, it is dramatic with incredible monologues of truth delivered. Among others, Lois Smith’s Margaret shares her story and Toby revels his past as an entrance to what he will choose for his future. Both are amazing.

The cadre of friends matures, but into the scene Leo emerges picking up where wealthy Adam (Samuel L Levine) left off in Part I. In Part I before the stunning end, Lopez sets us up, as Adam and Toby confront each other, competitive wills. Adam as the star of Toby’s play is getting more acclaim than playwright Toby. Toby accuses Adam of having an easy life absent fear. In an exceptional monologue (end of Act I, Part I) Levine’s Adam describes an incident in a bath house in Europe whose impact is at first heady and divine in its allurement. But when it is over Adam’s realization converts the event to what it is, frightening and sinister in its sadomasochism and shocking realism. The sex was unprotected and there is blood, much blood. But because Adam confides in his parents, they act quickly to get the right medications. For the second time since Adam was adopted into wealth, Adam gratefully acknowledges his parents saved his life, this time from “the plague.”

Lopez provides an striking contrast in characterization between Adam and his doppleganger Leo (also portrayed by Samuel L. Levine). Levine’s portrayal of both is superbly vital. It suggests the differences between their class, education, personality, perceptions. He plays each acutely with superlative specificity. Manifested is the vast demographic of gays and their experiences. They are not always wealthy and/or educated or elite stereotypes. Indeed, sex is a tool and hustlers who may have been bisexual were caught up in the war in the last century. However, in 2018 the drugs are a salvation and the hope for changing one’s circumstances is ever-present.

As a homeless man, Leo has left a dire situation and his means of support is hustling. Of course he flirts with danger and the threat of disease hangs over him with every trick. That Toby uses Leo as a trick, then boyfriend to satisfy his lust for Adam because Leo looks exactly like Adam, becomes one of the linchpins of Part II. There is even a duplication of the scene Adam described to Toby in Part I, cruelly revived because Leo does not choose this for himself, Toby chooses it for him. In other words, Toby would have sadomasochism forced on Leo in a cruel remembrance of what Adam told him. Toby’s descent is made clear in this scene. And soon he will have no where to go but the abyss of darkness reflected in his soul.

A second linchpin is Eric’s and Henry’s relationship. Despite all of Eric’s friends’ counsel after Henry discusses why he is a Republican and supports Trump, Eric decides he will accept Henry’s proposal, though their ethics, morals and emotional impulses are antithetical. Ironically, we note that Eric is blinded by Henry’s wealth and charm and intuit Eric is headed for another disastrous relationship.

How Lopez resolves these problems using parallel elements from Howard’s End is intricate but inevitably logical. He fleshes out the characters of Toby, Eric, Henry and Leo with lustrous precision bringing each to their own resolution toward redemption, damnation or apotheosis as in the case of Leo. In Part II, Lopez emphasizes the aspect of joining past and present to build on the inheritance of what others have forged out from their earthly trials. Ultimately, because the protagonists (Eric, Margaret, Leo, Henry) have reconciled and recognized the contributions, love and sacrifice of those who have gone before them, they are able to create renewal and rejuvenation in their own lives and the lives of others. Leo’s recovery in Eric’s house (which Henry finally gives Eric) allows Leo to receive the eventual grace, education, scholarship that Henry Wilcox initiates in remembrance of his love for Walter. And thus, finally, Leo is able to tell this story of all of them of what they inherited-the love, the sacrifice so that they can bridge the present to inspire and bring hope to future generations.

Yes, the plot of The Inheritance is labyrinthine, some parts bloated. But the adroit shepherding of performances and staging by director Stephen Daldry help to tease out the actors’ performances so that overall the effort is spectacular.

This is a phenomenal work. It especially resonates in our current climate which looks to be a vast leap backward, but which in another realm of consciousness may bring out the best in those of us who prize love above hate, unity above division, truth above falsehood, a nurturing spirit above cold-heartedness. All of these contrasts Lopez’s work clarifies with a bit of redemption and remorse sprinkled along the way. Powerful, prescient, preeminent!

A special mention goes to the creative team who magnificently with minimalism and seamless charm brought Daldry’s vision into being. These include Jon Clark (lighting design) Paul Arditti & Christopher Reid, Paul Englishby (original music) Bob Crowley (design).

This is going to be an award winner as it was in the U.K. See it to be uplifted and moved. You won’t regret it. The Inheritance is currently at the Ethel Barrymore Theatre (243 West 47th Street). For tickets and times CLICK HERE.

 

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