The Inheritance

B+ (A- for Part I, B for Part II)

After its ecstatic London reviews and the large commitment of time and money required to see it, Matthew Lopez’s (The Whipping Man, The Legend of Georgia McBride) two-part drama about a circle of contemporary gay men in NYC and their debt to their predecessors arrives on Broadway with a lot to prove. The fact that Lopez has taken inspiration from Howard’s End in creating his characters and themes adds to its interest for E.M. Forster fans. However, Howard’s End is not the only ingredient in Lopez’s recipe. Add large dashes of Angels in America, The Normal Heart and Boys in the Band. Does this recipe work? Mostly yes. The decision to include Morgan (the M. in E.M. Forster) as a character in the play pays off brilliantly, especially since he is played by the excellent Paul Hilton (“A Very English Scandal,” “The Crown”). Hilton also plays Walter, the kindly older man and life partner of Henry Wilcox who befriends and inspires Eric. The other male leads, all carryovers from London, are also very good. As Eric Glass, the play’s core, Kyle Soller (The Government Inspector) radiates goodness. As budding playwright Toby Darling, Eric’s lover of seven years at the play’s opening, Andrew Burnap (This Day Forward) nails his charm, insecurity and self-loathing. Samuel H. Levine (Kill Floor) is superb both as Adam, the actor who captures but does not reciprocate Toby’s interest, and as Leo, the young hustler who reminds Toby of Adam. In one remarkable scene, he plays both simultaneously. As Henry Wilcox, the hard-nosed conservative billionaire who is drawn to Eric, the reliable John Benjamin Hickey (Six Degrees of Separation, Love! Valour! Compassion!) once again proves his worth. The supporting cast playing Eric’s circle of friends make the most of their moments. The only principal role recast for Broadway is that of Margaret, an old woman Eric meets late in Part II. Replacing Vanessa Redgrave with Lois Smith (Marjorie Prime, John) is going from strength to strength. However I did feel that her long, touching soliloquy (and indeed the inclusion of her character) came across as an audience-pleasing interpolation that was not really organic to the plot. What would a New York story be without talk of real estate? Here we have two topics, the legendary $575 three-bedroom rent-controlled apartment on West End Avenue which Eric’s grandmother lived in and which he is struggling to hang onto, as well as Henry's upstate country home which Walter made a refuge for AIDS patients and which he wanted Eric to have. Scenes that advance the story are interpolated by extended discussions, the topics of which include the downside of gay assimilation, Forster’s cowardice in not publishing Maurice during his lifetime, proper attribution of credit for accelerated introduction of AIDS drugs, and the challenges brought on by the 2016 election. Bob Crowley’s (The History Boys, Carousel) minimalist set— a large beige rectangle surrounding a smaller rectangle that raises and lowers and a back wall that opens occasionally to reveal specific settings — serves the production well, as do his costumes. Stephen Daldry’s (Machinal, Billy Elliot) direction is impeccable. How you respond to all this may well depend on your level of interest in the lifestyles of privileged gay men and in the works of Forster. I strongly recommend that you watch the film of Howard’s End before seeing the play so you will appreciate Lopez’s appropriations. If you have time, watch Maurice too. Some of the New York references are so specific that I am surprised London responded with such enthusiasm. You should be cautioned that there are graphic — very graphic — descriptions of gay sex. I wonder who the target audience is. A totally unscientific look at yesterday’s audience suggested that 75% of the orchestra and 95% of the mezzanine were gay men. I would normally suggest that you see both parts on the same day. However, the investment of time and money is so large that you might want to see Part I before deciding whether you want to invest in Part II. I thought Part I was the better half and could stand alone. The end of Part I is definitely the emotional high point of the play. Running times: Part I — three hours 20 minutes including an intermission and a pause; Part II — three hours 15 minutes including an intermission and a pause.

I Was Most Alive with You

C

Playwright Craig Lucas (Prelude to a Kiss, The Dying Gaul) began with a noble goal: to write a play for charismatic actor Russell Harvard that would be equally accessible for a hearing audience as well as those who can read American Sign Language. To accomplish his goal he cast each character with two actors — one communicating primarily or exclusively by speech and the other by ASL. Playwrights Horizons is presenting the New York premiere. One of the characters is Deaf (capital D signifying one who identifies with Deaf culture) and another is deaf (small d signifying one who does not). There are so many interesting issues revolving around D/deafness, among them preferred method of communication and its implications, resistance to other methods, controversy over cochlear implants, attitude toward Deaf culture vs. assimilation, that there would seem to be rich material for a play with that as the main focus. Unfortunately, the playwright has chosen to harness the plot to the Book of Job, which is an uncomfortable fit. First of all, it is unclear who the Job figure is in the play. Is it Ash (Michael Gaston;Lucky Guy, The Cripple of Inishmann), a writer on a long-running TV show, who is beset with a variety of calamities on Thanksgiving Day? Is it his son Knox (Russell Harvard; Tribes, Spring Awakening) who is Deaf, gay and a recovering addict? Or is it possibly Knox’s deaf boyfriend Farhad (Tad Cooley) who suffered a horrendous childhood? If Job is about bad things happening to good people, it is not obvious which if any of these three qualifies as good. We also meet Ash’s writing partner and creative soulmate Astrid (Marianna Bassham; Our Town), his ironically named, boozy wife Pleasant (Lisa Emery; Marvin's Room, Marjorie Prime) who feels lost as both wife and mother, his mother Carla (Lois Smith; Marjorie Prime, John), who produces his TV show, and her nurse Mariama (Gameela Wright; Halcyon Days). When Lucas brings on the calamities, he seemingly throws in every topical social issue he can think of: alcoholism, opiate abuse, Ponzi schemes, bullying, sexual abuse, severe depression, capital punishment, antipathy toward Muslims, HIV, costly health care. The result is a play that is overstuffed and unfocused. As a further complication, the story is framed as a play within a play that the writers are developing. On the plus side, there are strong performances from the speaking actors and moments that are quite affecting. I never pass up an opportunity to see Lois Smith onstage. The shadow cast (Seth Gore, Beth Applebaum, Amelia Hensley, Harold Foxx, Anthony Natale, Kalen Feeney, Alexandra Wailes) performs on a balcony eight feet above the main stage, which makes it difficult to give simultaneous attention to them as well as to the actors below. I am not qualified to evaluate the quality of their ASL signing. The set by Arnulfo Maldonado (Iowa, Men on Boats) recreates the writers’ room of the tv show with gestures to other locations as needed. Unfortunately this requires some of the actors to be furniture movers. The costumes by David C. Woolard (The Rocky Horror Show) did not call attention to themselves. The lighting by Annie Wiegand is very helpful in establishing both location and time. Tyne Rafaeli (The Rape of the Sabine Women) directed with Sabrina Dennison as ASL director. The play could use some judicious cutting. There are repetitive passages, e.g. the same letter is presented twice, once in speech and later in ASL. While I admire the playwright for his ambition, I wish that he had not cluttered up the play with too many half-developed ideas. I do not grasp how the title relates to the play. Running time: two hours, 20 minutes including intermission.

NOTE: Here’s a YouTube clip of Russell Harvard’s prayer in the first act. Paste the link into your browser and press the CC button to see the captions:

https://www.youtube.com/watch?v=B2392LaI0Ck&t=28s

Marjorie Prime ***

As a Pulitzer finalist and the basis for an upcoming film with Jon Hamm and Geena Davis, this futuristic family drama by Jordan Harrison (Maple and Vine) arrives at Playwrights Horizons with the burden of high expectations. Set in the not-too-distant future, it depicts a world that includes primes, creations of artificial intelligence in the guise of avatars of deceased loved ones, whose purpose is to provide therapy for the living, whether it be the preservation of fading memories for the demented, closure for unresolved relationships or balm for raw grief. Marjorie (the wonderful Lois Smith) is an 85-year-old woman who is rapidly losing the memories of a lifetime. Against the wishes of her prickly daughter Tess (a superb Lisa Emery), her son-in-law Jon (an ultimately touching Stephen Root) has provided her with Walter (Noah Bean), a prime modeled on her late husband when he was 30. Walter only learns what he hears, which raises the ethical question of whether we have the right to curate someone’s memories. Should Walter be kept ignorant of a family tragedy that happened 40 or so years prior so that he cannot cause Marjorie to recall it? We follow the family through the next few years, which turn out to be difficult ones. To say much more would lead into “spoiler” territory. The plot is intriguing, but a bit schematic. I wish the family’s long-ago tragedy were not based on something that has become a dramatic cliche. Nevertheless, there is much to admire. The actors are uniformly wonderful. The final scene is both a satisfying and unexpected one, filled with humanity. Laura Jelinek’s set all in aqua and white has an exaggerated spaciousness that I assume is deliberate. Jessica Pabst’s costumes do not call attention to themselves. Anne Kauffman’s direction is uncluttered and assured. Running time: 80 minutes, no intermission.

John ***

The first play in Annie Baker’s residency at Signature Theatre is now in previews there. After my exasperating experience with her Pulitzer winner The Flick, I attended with low expectations. To my great surprise, I actually enjoyed myself. The traditional crimson curtain with gold fringe covering the stage was the first sign that this was going to be something different for her. That curtain is pulled open by Georgia Engel who plays Mertis Katherine Graven, the genial innkeeper of a b&b in Gettysburg. We see the ornate sitting room with a gigantic Christmas tree and a thousand tchotchkes, stuffed animals and dolls, as well as the Parisian-themed breakfast room. Set designer Mimi Lien (Preludes, The Oldest Boy) has outdone herself. Two guests arrive — Elias Schreiber-Hoffman (Christopher Abbott of “Girls”) and Jenny Chung (Hong Chau) — a neurotic couple who have been together for a rocky three years and who have come to Gettysburg to repair the damage of a recent blow-up. From the raised voices soon after they have retreated upstairs to their room, we gather that the healing is not going well. We eventually learn why Jenny is so clingy and Elias is so mistrustful. In pain with menstrual cramps, Jenny cuts short their battlefield tour the next day while Elias goes to dinner and takes a ghost tour. Jenny and Mertis are joined by Genevieve Marduk (the wonderful Lois Smith), a blind neighbor who recounts her past brush with mental illness after she became convinced that her late husband had invaded her soul. Three times during the weekend someone asks to hear a scary story. Baker clearly had a good time developing an air of mystery and a suggestion of the imminent supernatural. There are red herrings galore including a player piano with a mind of its own, Christmas lights that turn on and off at will and a mysterious journal that Mertis keeps. What turns out to be basically a very simple story has been stretched to Baker size with three acts. Between the second and third acts, there is a unexpected treat involving Lois Smith. My only problem is that I did not find Elias and Jenny sufficiently interesting to deserve all the attention. There is no character onstage named John. I won’t reveal the reason for the title. Asta Bennie Hostetter’s costumes are fine. The clever sound design by Bray Poor involves Mertis playing CDs on a faux-antique player — Bach, more Bach and, finally, Offenbach. Director Sam Gold once again demonstrates his affinity for Baker’s sensibility. Running time: 3 hours 20 minutes including two intermissions.

The Old Friends ***

(Please click on the title to see the complete review.)

Horton Foote, Pulitzer Prize-winning chronicler of small-town American life as lived in Harrison, TX, worked on this play off and on for over 40 years, but apparently was still not completely satisfied with it when he died in 2009. Signature Theatre is now presenting its world premiere. In Foote Country, we are never far from family rivalries, greed, the lust for power, and in this instance, the nearest liquor bottle. Borden family matriarch Mamie (Lois Smith) is forced to live with her wealthy but greedy, unhappily married daughter Julia (Veanne Cox) and Julia’s rotund alcoholic husband Albert (Adam LeFevre) who makes no attempt to disguise his hatred of his mother-in-law. Their old friend Gertrude, a monstrously greedy, needy lush (Betty Buckley), is filled with unrequited love for her business manager Howard (Cotter Smith), younger brother of her late husband. Mamie’s long-absent daughter-in-law Sybil (Hallie Foote) returns to the family with news of her husband Hugo’s untimely demise. 30 year ago, she broke off her engagement to Howard and married Hugo out of spite. Gertrude regards Sybil’s return as a threat and acts accordingly. The equilibrium is further upset by the arrival in town of Tom (Sean Lyons), a good-looking young man on the make, who ignites a rivalry between Gertrude and Julia. For most of the play, Julia, Albert and Gertrude are drunk. The play’s imperfections include too many over-the-top emotions and a weak narrative arc. Nevertheless, Foote created a gallery of vivid characters superbly portrayed by a stellar cast. Novella Nelson and Melle Powers have little to do in roles as maids. Jeff Cowie’s set design and David C. Woolard’s costumes are excellent. Michael Wilson directs with the sure hand he always brings to a Foote play. Running time: 2 hours including intermission.

A reminder about ratings: I use a scale from 0 to 5 stars. 0 = Dreadful. * = Poor. ** = Fair.

*** = Good. **** = Very Good. ***** = Outstanding.

Heartless *

The world premiere production of Sam Shepard's latest play is now in previews at the Signature Theatre. Let me begin by confessing that I have always preferred Shepard the actor to Shepard the playwright. There is something about his subject matter, his blend of humor, drama, lyricism and the absurd that has rarely appealed to me. Seeing Heartless has not made me a convert. The action takes place at a home overlooking Los Angeles inhabited by two sisters, their wheelchair-bound mother and her mysterious nurse. The younger sister, who has a huge scar running down her torso, has invited an older professor of Spanish literature, who has run out on his marriage, to move in. What follows is a hodgepodge of half-developed ideas that do not lead anywhere. Just when a situation gets interesting, Shepard drops it and goes elsewhere. Shepard does give each member of the fine cast (Jenny Bacon, Gary Cole, Betty Gilpin, Julianne Nicholson and Lois Smith) a chance to shine. I found Gilpin and Smith especially strong. Cole looked a bit too young for a 65-year old. Eugene Lee's bleak set makes awkward use of the stage, wasting most of the available space and thrusting into the front row of seats. Daniel Aukin's direction seemed sluggish, but that could just be the play. It was a frustrating evening. Running time: 2 hours, including intermission.