Stephen Daldry’s production of Matthew Lopez’s critically acclaimed play has transferred to Broadway.
The New York Times: “Ambition and achievement are not entirely commensurate in “The Inheritance.” Its breadth doesn’t always translate into depth. As fine as the acting is throughout — and quietly brilliant when the extraordinary veteran Lois Smith takes the stage, toward the very end, as the show’s sole female character — none of the characters here have the textured completeness of those created by Forster and Kushner.”
Variety: “The play is a remarkable slice of life in a time of war and a beautiful remembrance, “a haunting, a necessary haunting” of both the victims and the survivors of that war.”
Time Out: **** “at its best, as in the unforgettable sequence that concludes the first half, it taps into a profound sense of loss and a yearning for connection. If progress has come at a cost, The Inheritance is a play about remembering and honoring one’s debts. As such, it feels—to quote one of its characters—like a necessary haunting.”
The Hollywood Reporter: “As for the play, for all its imperfections, this is an audacious and impressive opus, not to mention a gift that celebrates the special love of gay men for the theater, and the countless talented gay theater artists lost to AIDS.”
Deadline: “Angels, incidentally, isn’t the only work echoed in The Inheritance, fitting for a play so insistent on honoring the past: Soria’s Jason #2 could be The Boys in the Band‘s Emory arrived in a world of acceptance and opportunity he wouldn’t recognize, and the communal utopia of Love! Valour! Compassion! is reflected in much of this play’s final scenes, rushed and overloaded as they are.”
Entertainment Weekly: “Matthew Lopez’s sprawling two-part drama is nothing if not ambitious — a funny, tender, frequently maddening mosaic of interwoven characters, eras, and Big Ideas that both exhausts and exhilarates the viewer, more than once within the same scene.”
The Wrap: “Part One of “The Inheritance” makes a major bow to “Longtime Companion,” Part Two ends with something from “Love! Valour! Compassion!” When the Tony nominating committee meets, will “The Inheritance” be deemed eligible for best new play or best revival?”
Broadway World: “This reviewer will not pretend to have the literary knowledge, nor the first-hand experience, to fully grasp and explain the various nuances that will be recognized by others who witness The Inheritance, but will vouch for the exhilarating emotional clout that’s in store for empathetic outliers.”
The Inheritance continues to play at the Ethel Barrymore Theater.