In The Inheritance, Matthew Lopez grapples with generations of gay trauma across many hours and more words. So why does the result feel so empty?
to what the play is doing. I am neither young nor a gay man, but I am a man of the theater, and what I was most surprised by in seeingwas how little actual drama there was to be found in its seven-hour traffic on the stage.is hardly an epic novel, either in length or scope. Its power lies in the control of its prose, the detail of its characters, and the way all of its sublimated desires and conflicts burst forth in one climactic act of violence.
Third-person narration onstage isn’t a new device—I seem to recall it having a little moment about a decade ago among MFA graduates from Yale and Brown—but it almost never works. Most of the time it instead robs the dramatic scenes themselves of the need to provide the action. Without action, there’s little tension, and the dialogue slackens and loses its internal stakes.
This is followed up by an exchange where Eric says, “I can’t imagine what those years were like. I don’t even know how to … I can understand what it was. But I cannot possibly feel what it was,” and Walter asks Eric to list his friends, and then tells him that almost all of them would be dead.
Lurking in Eric’s statement to Walter about the AIDS crisis is the play’s true agenda: to make us “feel what it was” to be a young gay man, both during the height of the plague years and in 2016, when much of an entire generation of your elders has been wiped out by the horrible combination of fatal illness and sociopolitical hostility, and the survivors suffer from a kind of distancing PTSD. On this front, the play is clearly successful.
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