Two-part production of the Matthew Lopez play takes a close look at the generations impacted by AIDS
Matthew Lopez’ play The Inheritance is a loose adaptation of E.M. Forster’s novel Howards End. But one does not need to be familiar with Forster’s novel to be spellbound by Vintage Theatre’s production of The Inheritance. Playing for six hours and presented in two parts, Vintage Theatre has mounted a successful production that strikes soundly on many emotional levels.
Set in and around New York from 2015 through 2018, we are introduced to a myriad of inter-generational characters using an ensemble of actors playing multiple roles. The main thrust of the play centers around the question of what it means to be a gay man in the contemporary world while still being affected by the past, specifically by the AIDS epidemic of a previous generation. Also sewn into the fabric of the play is the question of what responsibilities gay men have to each other in passing the torch from one generation to another.
The story is told primarily through the eyes of a thirtysomething couple Eric Glass (Dakota Chase Hill) and Toby Darling (Bobby Bennett). Darling is an author-turned playwright and Glass is tied to the election of a very real presidential candidate. Both men are committed to their seven-year relationship until a much younger stranger, Young Man #1/Leo (Kyle Lawrence), comes into their lives and ultimately affects the relationship. Enter the more senior generation represented by Walter Poole (Todd Black) and his life partner Henry Wilcox (Andy Anderson). These men lived through the height of the AIDS crisis and have lived to talk about it, or not. Guiding us through the storyline is Morgan/E.M. Forster (Matthew Murry), who conveniently slips in and out of the action for the play and interacts with the characters as they journey through their maze of emotions. And finally, we are introduced to Margaret Avery (Deborah Persoff) who recounts her devastating loss from the killer plague.
The play is a challenging roller-coaster ride through multilevel time periods. As warned repeatedly before entering the theatre, The Inheritance is for mature audiences. The play is a realistic recounting of a lifestyle that is rarely examined so closely as it is here. The audience at the performances that I attended was demographically mixed, however, all were laser-focused on the action of the play despite its sometimes-raw nature.
Producing The Inheritance is a massive undertaking. To begin with, assembling a first-rate cast of 13 men and one woman is no small feat that Vintage has done so handily. Leading the cast is Bobby Bennett as Toby Darling and Dakota Chase Hill as Eric Glass. Bennett gives an astonishing performance that has him swinging almost magically from emotion to emotion. He is a confident performer who comes to life as Toby from beginning to end. Hill provides a solid and insightful performance capturing a man who is constantly examining his life and searching for some sort of inner peace with an acknowledgment of doing the right thing.
Another standout in the cast includes Kyle Lawrence as the troubled teen, Leo. Lawrence’s performance is both vulnerable and deeply moving. He captures the innocence and fear of an inexperienced teenager thrust into a world of very adult considerations.
Providing a unique perspective into contemporary gay life, both Todd Black as Walter Poole and Andy Anderson as Henry Wilcox are strong performers who bring the necessary maturity into the storyline. Black provides a level of compassion and empathy for what is currently happening around him along with what transpired during the height of the AIDS epidemic. Anderson is a tough businessman filled with denial and emotional reluctance. Both actors give beautifully understated performances that fuel the sweeping scope of the play. As E.M. Forster/Morgan, Matthew Murry is the right combination of a listening ear and sage. Highlighting much of the action on stage, Murry’s performance is solid and distinct.
The rest of the talented cast rises to the occasion with well-rounded characterizations playing multiple roles. Many of these men are new to Vintage, while others are returning for a second or third time. All are welcome additions, and all deserve kudos for the stamina it takes to perform two clips of three hours. Each one of them deserves a special shout-out for their contribution to making The Inheritance a success.
And finally, there is Deborah Persoff as Margaret Avery. Although short in duration, Persoff’s performance is a highlight of the production. Both slightly cagey and deeply painful, her performance amounts to the highest caliber of acting seen on any stage. At the performance I attended, recounting the impact of the AIDS crisis on her life brought tears to the eyes of men and women alike. Persoff has been honored with many awards during her career and this performance warrants equal recognition.
As directed by Vintage Artistic Director Bernie Cardell, The Inheritance succeeds on many levels. Not only does Cardell infuse the production with both a sense of fragility, as well as ultimate strength but it is a character-driven play and Cardell focuses on the meaningful relationships provided by the playwright. Assisting Cardell is Troy Lakey, the assistant director for Part One, and Carter Edward Smith, the assistant director for Part Two.
I was deeply moved by this production. Having lived through the height of the AIDS epidemic in New York City, every chord rang true throughout. However, I am not suggesting that my experience is a prerequisite for finding meaning in The Inheritance. One needs only to absorb the beauty of this production currently playing at Vintage Theatre to find one’s own meaning.
Leave A Comment