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
National tour of ‘The Notebook’ retains its tearjerking power
Talented queer actor Grace Rundberg joins cast fresh out of college
‘The Notebook’
Aug. 18-30
National Theatre
1321 Pennsylvania Ave., N.W.
$89-$197
Broadwayatthenational.com
When Grace Ohwensadeyo Rundberg first imagined a career in musical theater, she wasn’t sure exactly how she’d fit in. As a gay actor would she play queer characters? Outside of “Rent” and a few other shows, would there be lesbian parts coming her way?
Rundberg, 23, remembers an acting class in college. “I was doing a romantic scene opposite a male actor when the professor interrupted to say it was ‘unconvincing.’ Well, I’d never had the experience of what it’s like to be with a man, so I’m not surprised it looked a little awkward.”
But for Rundberg, being in the national tour of “The Notebook” has quelled those misgivings. Of course, booking the show straight out of college bolstered her confidence, and playing a woman whose love interests are men has put Rundberg in a place where she’s fine playing straight or gay.
Opening this week in D.C.’s National Theatre (Aug. 18-30), “The Notebook” is a genuine tearjerker (the book, the film, and the musical). It’s the decades long love story of Noah and Allie who despite vast differences, fall in love as teenagers. Over the years, their romance faces separation, societal pressures, the challenges of Alzheimer’s disease, yet somehow prevails.
Shortly after graduating from Pace University’s musical theater program in 2025, the upfront and buoyant Rundberg was signed to play ensemble member Georgie and understudy for Middle Allie (a young woman caught between youthful passion and reflective memory).
A mezze soprano mixed belter experienced with folk, pop, contemporary styles, she proves an ideal performer to sing Ingrid Michaelson score and act Bekah Brunstetter’s romantic libretto.
And when she understudies the role of Middle Allie, whether by scheduled design or insanely short notice, she sings the familiar tune “My Days,” a standout track from the musical that serves as the show-stopping “11 o’clock number.” Here, she captures the emotional climax when Middle Allie chooses the life and loves she desires.
During a musical childhood spent in Pittsford, N.Y, just seven miles outside of Rochester, Rundberg began music classes at four; she learned piano and belonged to choirs. And though, she says, the family was not really into theater, her mom was a Cher impersonator for a while.
Significantly, Rundberg (whose middle name Ohwensadeyo translates from Cayuga as “Beautiful Earth”) is a citizen of the Cayuga Nation, an Indigenous nation native to New York state.
Recently, she began learning the Cayuga language, a very important part of the culture, particularly since it’s almost exclusively a spoken language. Rundberg’s cousin, a professor at Cornell University where he teaches Cayuga language and culture, has been a great help. She feels fortunate: “Not everyone has access to their ancestry I’m blessed in this way.”
The Brooklyn-based actor’s ambitions are bold and varied. While landing a national tour was high on her bucket list, she longs to work on Broadway and auditions for TV and film. Being the first to create a character in a new work, especially a lesbian character, is a big goal. “That would tie a lot of things together,” she says. “That’s the ultimate dream.”
In the meantime, Rundberg is working professionally and seeing the country. But touring isn’t without its drawbacks. “I miss New York a lot,” she says. “My girlfriend is there; long distance is a challenge for sure. I’m always in a different place often with different time zones. Still, she has come to see me in San Francisco, Miami, Cleveland, and a few other stops. And I fly to New York when I can. We make it work.”
As a kid, Rundberg watched and rewatched the movie version of ‘The Notebook.’ She says, “It’s one of my favorites. It’s kind of a cliché, I know, but I’m a hopeless romantic.”
The show touches a lot of people; it’s evident at every performance. From the stage, the cast sees audience members crying. In fact, “The Notebook” sells branded souvenir tissue boxes at its merchandise stands for five dollars a pop.
“Beyond elements of sadness there’s also joy,” she adds. “There’s the never-ending devotion and getting through hard times together too. We do our best to send the audience home with hope and love.”
Theater
Don’t miss summer productions at Clear Space in Rehoboth Beach
‘Cher Show,’ ‘Pretty Woman’ among season’s standouts
“The Cher Show” at Clear Space Theatre is wonderful. I am always amazed at the talent they attract for their summer series. Kudos to Wes Drummond, the artistic director of the theater. “The Cher Show” is written by Rick Elice. Compliments to the talented director, James FitzSimmons, who brought to life this production. His immensely talented cast includes Shannen Hofheimer as Star, Breanna Lemerise as Lady, Abby Lynne as Babe, and Anya Kay, as young Cher. Each is a pleasure to both watch and listen to. They command the stage. Then more kudos to the entire cast and ensemble. Also, the creative team, which includes among so many who make this show a hit, choreographer Shondelle Graulich; scenic designer, David Chappell; lighting designer Brendan Smith; costume designer Valerie Beardsley; and the entire orchestra led by conductor, Jerry Birl.
But the actor who I was looking forward to seeing in the production, was a young actor I had written about, and reviewed, when I saw him at Clear Space two years ago. In this production he is Sonny Bono, and he definitely didn’t disappoint.
Let me introduce Caetano de Sá. I have written about him before, but his resume is worth repeating. It says; Height: 5’7 ½, Eyes: Brown, Voice part: Tenor G2 – C5, Build: Athletic. All true. Then you add to this he speaks Brazilian Portuguese, is certified in stage combat by the Society of American Fight Directors, and is a 2nd Degree Black Belt in Taekwondo. Then as his resume of roles confirms, he can act, sing, and dance with the best. He does a great job as Sonny and is fun to watch on stage. Here he displays his talents as a singer and actor, and they are as good as I remembered them when I first met Caetano while he was still in school in 2024, and was starring as Frankie Valli in “Jersey Boys,” at Clear Space. At the time he was a rising senior at the Boston Conservatory at Berklee BFA Musical Theater program. I interviewed him, and Harry Sperduto, who played Tommy Devotee, after seeing them in the show, and being amazed by their talent. Since that time, I have followed their careers. When I heard Caetano was coming back to Clear Space for the summer, I reached out, and he agreed to sit down and chat, which we did. I knew Clear Space Theatre was planning a busy summer season. Their lineup of shows included “The Cher Show,” “Mean Girls,” and “Pretty Woman.” They always have talented casts, including the many college students who are getting their first chance to shine, which was the case for Caetano in 2024. Now he is back as a graduate, with more experience under his belt, a little more established. This season he was going to play Sonny in their production of “The Cher Show,” Martin/Coach Carr, in “Mean Girls,” and Mr. Hollister in “Pretty Woman,” and being a part of the ensemble. He told me he really enjoys being at Clear Space, and that his castmates are all talented. He is a lot more experienced than when he was here before, having performed in productions at the Prairie Repertory Theatre, the Emerald Coast Theatre Company, Firehouse Center for the Arts, and the Sullivan Rep, among others. In productions as diverse as “Oklahoma!,” “Mystic Pizza,” “Hairspray,” and “Rock of Ages.” He now lives in New York City and clearly New York is the perfect place for an aspiring actor. He has an agent at Bramante Artists, who is getting him gigs, like the one he had at 54 Below and even a TV commercial for AFLAC.
“The Cher Show” is the second show I have seen at Clear Space this summer. After our chat I got one of the last tickets available that evening for “Pretty Woman.” In that production he has a smaller role, and is part of the incredibly talented ensemble. It is also an entertaining show and its very talented stars, Abby McDonough as Vivian, and Jaiden Leo Riley as Edward, are a pleasure to watch. Kudos to the talented director, Ashley Williams, and the entire creative team.
For anyone living at the beach, or coming for a visit, I urge you to plan a night at Clear Space. You won’t regret it. But know tickets for all the shows, and Sunday evening cabaret nights, sell out fast. So, I suggest you see what’s available online and buy yours today.
Theater
Reggie White relishing first season as artistic director of Woolly Mammoth
First five shows a reminder that ‘pressure is a privilege’
Madly talented and preternaturally energetic, Reggie D. White, 38, is about to launch his first season as artistic director of D.C.’s boundary-pushing Woolly Mammoth Theatre Company.
White brings a lot to the job. As actor, playwright, and director, his varied resume includes a 2019 Broadway acting debut in Matthew López’s Tony Award–winning play “The Inheritance,” his semi-autobiographic play “Fremont Ave.” that opened to acclaim last season at Arena Stage, and a number of exciting regional directing credits.
A longtime admirer of Woolly, the out theater-maker was selected from a pool of candidates before receiving the offer last November and starting work in January. His season of five world premieres kicks off with gay playwright Steve Yockey’s “Venus” (Sept. 9-Oct. 4), a darkly funny study of modern relationships told through two lesbians looking back on their first encounter.
White was introduced to Woolly Mammoth as a pre-law student at Cal State Hayward in the San Francisco Bay Area, long before he foresaw a life in the arts. “As part of a random theater history course, I was assigned to write a paper on a counterculture company called Woolly Mammoth,” he recalls “Strange name. I was like what the hell is that?”
Nineteen-year-old White was intrigued. Research acquainted him with Howard Shalwitz who co-founded Woolly in 1980, and the company’s commitment to living playwrights and new work. He also learned how theater could be used as a tool for difficult conversations and shape the way people thought about social issues by employing imagination and rigor.
“Never in a million years did young me envision that one day I’d be Woolly’s third artistic director in its 46-year history,” says White. “It’s kind of serendipitously insane.”
WASHINGTON BLADE: Was there a moment when the enormity of the job hit you?
REGGIE D. WHITE: After I’d signed my contract and finished all the paperwork, I got my keys and sat in the theater by myself in the dark and thought about what an incredible honor it is to be trusted with what happens in this beautiful space [in D.C.’s Penn Quarter]. I might have cried. Sometimes I have to pinch myself to remember it’s real.
BLADE: Are you curating the upcoming 2026–2027 season?
WHITE: Yes, I am. It’s very rare that an incoming artistic director gets to program their first season, but I was lucky in terms of time. After being hired late last year, I asked Woolly’s managing director Kimberly E. Douglas, if she thought it would be crazy if I programmed the season. She warned me it would be hard.
I invoked tennis legend Billie Jean King’s maxim “pressure is a privilege” and got to work.
These plays [dubbed White’s “first five”] represent both the kind of theater that Woolly can do really well and speak directly to my voice as curator and how I want to contribute to the larger theatrical conversation in the DMV.
Getting here has meant a lot of late nights. But I knew the juice would be worth the squeeze.
BLADE: As a queer artistic director, what makes you unique?
WHITE: When I was playing in “Inheritance” on Broadway, after a performance, U.S. Supreme Court Justice Sotomayer came backstage to meet the cast. She spoke about how her lens on the world as a Puerto Rican woman shapes her decisions. Similarly, because I’m a queer Black man I see through a lens that shapes my work.
I know I’m not the only queer artistic director in town. For me, it influences how I make editorial decisions. Out of this season’s five plays there are explicitly queer characters in four [“Venus,” “Chanukkah Spectacular,” “Ten Grand,” and “Love I Awethu Further”] and I’m directing two [“Venus,” “Ten Grand”].
BLADE: Will we see familiar faces?
WHITE: Every show this season will feature a Woolly Mammoth company member in its cast. Our company also includes designers and directors who we’ll include. I’m invested in continuing to provide a showcase for their work.
BLADE: How do you think queer audiences will receive the season?
WHITE: Very well, I think. For queer people who’ve had to navigate the world subversively and solve problems in unique ways, I think it will be especially interesting. I find theater a potent place for questions.
Like all artistic directors. I’ll show up for the job in my own way. I’m just excited that I’ve been invited to bring the fullness of myself to the role.
Bros + romance + fantasy = ‘Bromantasy.’
National tour of ‘The Notebook’ retains its tearjerking power
Live music drag cabaret set for Shaw’s Tavern
Calendar: August 14-20
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