Theater
Character-driven ‘Inheritance’ echoes literary debt with generational interminglings
Hit Broadway play borrows liberally from a gay past — in multiple ways
Like a writer on deadline, desperate to fill blank space with words of legacy-worthy brilliance, no one who populates “The Inheritance” is beyond borrowing a page or two from the past, if they think it might prove useful in defining or defending themselves.
Making its mark on Broadway, with much of the stellar cast in tow after an award-winning 2018 run on London’s West End, Matthew Lopez’s six-and-a-half-hour, two-part look at friendships and friction between contemporary gay Manhattanites and those who lived on the island during the height of the HIV/AIDS epidemic, owes its pulpy plot to “Howards End.” Following previews, it officially opened last week at the Ethel Barrymore Theatre (243 W. 47th St.) in New York (tickets are here).
Chalk it up to generational differences if you hold the 1992 Merchant Ivory film adaptation in roughly the same esteem as the 1910 E. M. Forster novel — a transgression committed early on by a youthful “Inheritance” character in one of many alternately playful and finger-wagging know-your-history moments. And we need those moments, especially since Young Man 10 goes on to note, of Forster’s turn-of-the-century setting, “But I mean, the world is so different now. I can’t identify with it at all.”
Lopez knows otherwise. And as Act I begins, he makes his case with epic gusto, examining the eternal push and pull between the knowing and the uninformed, the rich and the poor, the healthy and the sick, the upward trajectory and the downward spiral.
It’s that last category that does much of the heavy lifting. By casting actors in dual roles both complementary and contrasting, and bringing together characters who share similar traits and fates, the lines between disparate generations begin to blur although stark differences remain, as they prod each other on matters of meaning and morality.
Even the play’s philosophically opposed are hard-pressed not to see themselves in their sparring partner and their willingness to pivot is what separates victor from victim.
At the play’s molten core is fundamentally decent, newly minted 33-year-old Eric Glass (Kyle Soller), whose culinary skills and nurturing instincts earn him the loyalty of a catty group of chatty gay chums, each seemingly more driven and successful than he is. Jason and Jason are both teachers (and happily married), Tristan is a doctor and Eric works for a social justice engineering company. That Jasper founded. At 21.
Good jobs and self-image aside, looming large in Part 1 is Eric’s increasingly fraught relationship with Toby Darling (Andrew Burnap), a soon-to-be successful novelist/playwright with a hidden past and an emerging sweet tooth for fame, Fire Island, tweaking and twinks.
Eric and Toby live — thoroughly above their station — in a rent-controlled Upper West Side apartment that’s been in Eric’s family since his grandmother and grandfather signed the lease in 1947 (gasps shot through the Ethel Barrymore Theatre when the monthly charge for their three-bedroom, two-bathroom abode, with terrace, was revealed to be a paltry $575).
Following his grandmother’s death, Eric moved in, but not with a strong enough claim to prevent eviction. Years go by until building management starts that process — news Eric keeps from Toby through the duration of their engagement. Words are exchanged. Wedding rings are not.
Also living in Eric’s building is contemplative Walter Poole (Paul Hilton), described by Toby as “a sheer curtain in front of an open window. He’s like Valium.” Walter shares an apartment with his longtime partner, Henry Wilcox (strapping John Benjamin Hickey, who balances his character’s Republicanism with intensity, charisma and just enough likability to keep detractors off balance). Both are drawn into Eric’s orbit and emerge the better for it, but they’ve got decades on him and with that comes a gravity that exerts profound influence.
Walter sees in Eric a kindred spirit and uses his own story to set him on a path that will give his life meaning and purpose. Henry’s contribution is just as profound, although not as nurturing. (He withholds news of Walter’s desire that Eric inherit a steeped-in-history upstate property they purchased during their early years together.)
Henry’s denial of that dying wish comes back to bite in Part II, when he and Eric, both feeling the absence of their significant others, form an unlikely bond, which leads to an even more inexplicable marriage. Meanwhile, Toby shacks up with Leo, a down-on-his-luck sex worker who bares a striking resemblance to Adam, the young man Eric and Toby took under their wings in happier times.
Samuel H. Levine plays Adam and Leo, with vocal and posture choices that cry out for a new Tony Award category. Newbie actor Adam, cast as the lead in Toby’s wildly successful, based-on-his-book Broadway play, earns him sudden notoriety. Leo winds up back on the streets, when his mentor/student relationship with Toby turns sour.
HIV positive and seemingly destined for the grave, Leo has a chance encounter with Eric, whose separation from Henry will bring all concerned back to that highly contested upstate property, where the play’s title looms like the dates-back-to-George-Washington cherry tree that stands firm at the foot of a dwelling filled with the ghosts of former residents.
The house, you see, is where Walter established a de facto hospice for dozens of ’80s-era gay men who had nowhere else to turn during the final stages of AIDS. That sprawling act of altruism, which originated with Walter’s single act of kindness toward a mutual friend about to succumb to the plague, drew Henry’s contempt and infected their relationship until its dying day.
Yikes. That’s a lot to digest — and in the unlikely event you lack food for thought during intermission, the condom-filled basket at the tail end of the long line to the men’s room reminds one that stimulating conversation isn’t the only thing worth pursuing after curtain time.
As for the runtime, a bit of pruning wouldn’t hurt. In scenes with Eric and the gang capering about the stage dispensing cocktail party takes on matters such as what constitutes camp, the play enters too-cute-by-half territory.
It’s a good thing we have E. M. Forster roaming the boards, because he excels at putting things in context and perspective. Living to 91 and being dead since 1970 will do that to a person. And it doesn’t hurt in the least to be played by Paul Hilton, who brings to the role many of the same introspective qualities he’s poured into Walter, but with an even more profound sense of loss, melancholy and hope.
Introduced in the prologue as a professorial presence who guides a group of young writers through the creation of the work that will become the play we’re watching (subject to revision, as we go along), Morgan is so invested in their success, he even lets them use the first sentence of “Howards End” as a starting point.
Such acts of benevolence come easy to the author, who sees in these young men every brave choice and liberating possibility he denied himself.
Appearing to Leo on a Fire Island beach, under the light of a full moon (yes, he does that sort of thing, just go with it), Morgan calls his gay-themed novel “Maurice,” written in 1914 but held for publication until his death, “the most terrifying and the most exhilarating thing I had ever done. Hiding it from the world was the most shameful.”
That may or may not be how Morgan (aka Forster) would have actually felt. As written, he’s more better angel than dogged biographical sketch — appropriate, perhaps, for a play that reaches its own heights by burning through the source material it inherited. In doing so, Lopez invites us to dine out on a hard truth: Those who follow in our footsteps need good stories in order to create their own, so keep that in mind, and act accordingly.
Theater
‘Octet’ explores the depths of digital addiction
Habits not easily shaken in Studio Theatre chamber musical
‘Octet’
Through Feb. 26
Studio Theatre
1501 14th Street, N.W.
Tickets start at $55
Studiotheatre.org
David Malloy’s “Octet” delves deep into the depths of digital addiction.
Featuring a person ensemble, this extraordinary a capella chamber musical explores the lives of recovering internet addicts whose lives have been devastated by digital dependency; sharing what’s happened and how things have changed.
Dressed in casual street clothes, the “Friends of Saul” trickle into a church all-purpose room, check their cell phones in a basket, put away the bingo tables, and arrange folding chairs into a circle. Some may stop by a side table offering cookies, tea, and coffee before taking a seat.
The show opens with “The Forest,” a haunting hymn harking back to the good old days of an analog existence before glowing screens, incessant pings and texts.
“The forest was beautiful/ My head was clean and clear/Alone without fear/ The forest was safe/ I danced like a beautiful fool / One time some time.”
Mimicking an actual step meeting, there’s a preamble. And then the honest sharing begins, complete with accounts of sober time and slips.
Eager to share, Jessica (Chelsea Williams) painfully recalls being cancelled after the video of her public meltdown went viral. Henry (Angelo Harrington II) is a gay gamer with a Candy Crush problem. Toby (Adrian Joyce) a nihilist who needs to stay off the internet sings “So anyway/ I’m doing good/ Mostly/ Limiting my time/ Mostly.”
The group’s unseen founder Saul is absent, per usual.
In his stead Paula, a welcoming woman played with quiet compassion by Tracy Lynn Olivera, leads. She and her husband no longer connect. They bring screens to bed. In a love-lost ballad, she explains: “We don’t sleep well/ My husband I/ Our circadian rhythms corrupted/ By the sallow blue glow of a screen/ Sucking souls and melatonin/ All of my dreams have been stolen.”
After too much time spent arguing with strangers on the internet, Marvin, a brainy young father played by David Toshiro Crane, encounters the voice of a God.
Ed (Jimmy Kieffer) deals with a porn addiction. Karly (Ana Marcu) avoids dating apps, a compulsion compared to her mother’s addiction to slot machines.
Malloy, who not only wrote the music but also the smart lyrics, book, and inventive vocal arrangements, brilliantly joins isolation with live harmony. It’s really something.
And helmed by David Muse, “Octet” is a precisely, quietly, yet powerfully staged production, featuring a topnotch cast who (when not taking their moment in the spotlight) use their voices to make sounds and act as a sort of Greek chorus. Mostly on stage throughout all of the 100-minute one act, they demonstrate impressive stamina and concentration.
An immersive production, “Octet” invites audience members to feel a part of the meeting. Studio’s Shargai Theatre is configured, for the first, in the round. And like the characters, patrons must also unplug. Everyone is required to have their phones locked in a small pouch (that only ushers are able to open and close), so be prepared for a wee bit of separation anxiety.
At the end of the meeting, the group surrenders somnambulantly. They know they are powerless against internet addiction. But group newbie Velma (Amelia Aguilar) isn’t entirely convinced. She remembers the good tech times.
In a bittersweet moment, she shares of an online friendship with “a girl in Sainte Marie / Just like me.”
Habits aren’t easily shaken.
Theater
Out dancer on Alvin Ailey’s stint at Warner Theatre
10-day production marks kickoff of national tour
Alvin Ailey American Dance Theater
Through Feb. 8
Warner Theatre
513 12th St., N.W.
Tickets start at $75
ailey.org
The legendary Alvin Ailey American Dance Theater is coming to Washington’s Warner Theatre, and one of its principal veterans couldn’t be more pleased. Out dancer Renaldo Maurice is eager to be a part of the company’s 10-day stint, the kickoff of a national tour that extends through early May.
“I love the respectful D.C. crowd and they love us,” says Maurice, a member of esteemed modern dance company for 15 years. The traveling tour is made of two programs and different casting with Ailey’s masterwork “Revelations” in both programs.
Recently, we caught up with Maurice via phone. He called from one of the quiet rooms in his New York City gym where he’s getting his body ready for the long Ailey tour.
Based in North Newark, N.J., where he recently bought a house, Maurice looks forward to being on the road: “I enjoy the rigorous performance schedule, classes, shows, gym, and travel. It’s all part of carving out a lane for myself and my future and what that looks like.”
Raised by a single mother of three in Gary, Ind., Maurice, 33, first saw Alvin Ailey as a young kid in the Auditorium Theatre in downtown Chicago, the same venue where he’s performed with the company as a professional dancer.
He credits his mother with his success: “She’s a real dance mom. I would not be the man or artist I am today if it weren’t for the grooming and discipline of my mom. Support and encouragement. It’s impacted my artistry and my adulthood.”
Maurice is also part of the New York Ballroom scene, an African-American and Latin underground LGBTQ+ subculture where ball attendees “walk” in a variety of categories (like “realness,” “fashion,” and “sex siren”) for big prizes. He’s known as the Legendary Overall Father of the Haus of Alpha Omega.
WASHINGTON BLADE: Like many gay men of his era, Ailey lived a largely closeted public life before his death from AIDS-related complications in 1989.
RENALDO MAURICE Not unusual for a Black gay man born during the Depression in Rogers, Texas, who’s striving to break out in the industry to be a creative. You want to be respected and heard. Black man, and Black man who dances, and you may be same-sex gender loving too. It was a lot, especially at that time.
BLADE: Ailey has been described as intellectual, humble, and graceful. He possessed strength. He knew who he was and what stories he wanted to tell.
MAURICE: Definitely, he wanted to concentrate on sharing and telling stories. What kept him going was his art. Ailey wanted dancers to live their lives and express that experience on stage. That way people in the audience could connect with them. It’s incredibly powerful that you can touch people by moving your body.
That’s partly what’s so special about “Revelations,” his longest running ballet and a fan favorite that’s part of the upcoming tour. Choreographed by Alvin Ailey in 1960, it’s a modern dance work that honors African-American cultural heritage through themes of grief, joy, and faith.
BLADE: Is “Revelation” a meaningful piece for you?
MAURICE: It’s my favorite piece. I saw it as a kid and now perform it as a professional dance artist. I’ve grown into the role since I was 20 years old.
BLADE: How can a dancer in a prestigious company also be a ballroom house father?
MAURICE: I’ve made it work. I learned how to navigate and separate. I’m a principal dancer with Ailey. And I take that seriously. But I’m also a house father and I take that seriously as well.
I’m about positivity, unity, and hard work. In ballroom you compete and if you’re not good, you can get chopped. You got to work on your craft and come back harder. It’s the same with dance.
BLADE: Any message for queer audiences?
MAURICE: I know my queer brothers and sisters love to leave with something good. If you come to any Ailey performance you’ll be touched, your spirit will be uplifted. There’s laughter, thoughtful and tender moments. And it’s all delivered by artists who are passionate about what they do.
BLADE: Alvin Ailey has been a huge part of your life. Thoughts on that?
MAURICE: I’m a believer in it takes a village. Hard work and discipline. I take it seriously and I love what I do. Ailey has provided me with a lot: world travel, a livelihood, and working with talented people here and internationally. Alvin Ailey has been a huge part of my life from boyhood to now. It’s been great.
Theater
Swing actor Thomas Netter covers five principal parts in ‘Clue’
Unique role in National Theatre production requires lots of memorization
‘Clue: On Stage’
Jan. 27-Feb. 1
The National Theatre
1321 Pennsylvania Ave., N.W.
thenationaldc.com
Out actor Thomas Netter has been touring with “Clue” since it opened in Rochester, New York, in late October, and he’s soon settling into a week-long run at D.C.’s National Theatre.
Adapted by Sandy Rustin from the same-titled 1985 campy cult film, which in turn took its inspiration from the popular board game, “Clue” brings all the murder mystery mayhem to stage.
It’s 1954, the height of the Red Scare, and a half dozen shady characters are summoned to an isolated mansion by a blackmailer named Mr. Boddy where things go awry fairly fast. A fast-moving homage to the drawing room whodunit genre with lots of wordplay, slapstick, and farce, “Clue” gives the comedic actors a lot to do and the audience much to laugh at.
When Netter tells friends that he’s touring in “Clue,” they inevitably ask “Who are you playing and when can we see you in it?” His reply isn’t straightforward.
The New York-based actor explains, “In this production, I’m a swing. I never know who’ll I play or when I’ll go on. Almost at any time I can be called on to play a different part. I cover five roles, almost all of the men in the show.”
Unlike an understudy who typically learns one principal or supporting role and performs in the ensemble nightly, a swing learns any number of parts and waits quietly offstage throughout every performance just in case.
With 80 minutes of uninterrupted quick, clipped talk “Clue” can be tough for a swing. Still, Netter, 28, adds, “I’m loving it, and I’m working with a great cast. There’s no sort of “All About Eve” dynamic going on here.”
WASHINGTON BLADE: Learning multiple tracks has got to be terrifying.
THOMAS NETTER: Well, there certainly was a learning curve for me. I’ve understudied roles in musicals but I’ve never covered five principal parts in a play, and the sheer amount of memorization was daunting.
As soon as I got the script, I started learning lines character by character. I transformed my living room into the mansion’s study and hallway, and got on my feet as much as I could and began to get the parts into my body.
BLADE: During the tour, have you been called on to perform much?
NETTER: Luckily, everyone has been healthy. But I was called on in Pittsburgh where I did Wadsworth, the butler, and the following day did the cop speaking to the character that I was playing the day before.
BLADE: Do you dread getting that call?
NETTER: Can’t say I dread it, but there is that little bit of stage fright involved. Coming in, my goal was to know the tracks. After I’d done my homework and released myself from nervous energy, I could go out and perform and have fun. After all, I love to act.
“Clue” is an opportunity for me to live in the heads of five totally different archetype characters. As an actor that part is very exciting. In this comedy, depending on the part, some nights it’s kill and other nights be killed.
BLADE: Aside from the occasional nerves, would you swing again?
NETTER: Oh yeah, I feel I’m living out the dream of the little gay boy I once was. Traveling around getting a beat on different communities. If there’s a gay bar, I’m stopping by and meeting interesting and cool people.
BLADE: Speaking of that little gay boy, what drew him to theater?
NETTER: Grandma and mom were big movie musical fans, show likes “Singing in the Rain,” “Meet Me in St. Louis.” I have memories of my grandma dancing me around the house to “Shall We Dance?” from the “King and I” She put me in tap class at age four.
BLADE: What are your career highlights to date?
NETTER: Studying the Meisner techniqueat New York’sNeighborhood Playhouse for two years was definitely a highlight. Favorite parts would include the D’Ysquith family [all eight murder victims] in “A Gentleman’s Guide to Love & Murder,” and the monstrous Miss Trunchbull in “Matilda.”
BLADE: And looking forward?
NETTER: I’d really like the chance to play Finch or Frump in Frank Loesser’s musical comedy “How to Succeed in Business Without Really Trying.”
BLADE: In the meantime, you can find Netter backstage at the National waiting to hear those exhilarating words “You’re on!”
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