Venue: Seymour Centre, Reginald Theatre (Chippendale NSW), Nov 7 – Dec 8, 2024
Playwright: Matthew López (inspired by the novel Howards End by E.M. Forster)
Director: Shane Anthony
Cast: John Adam, Simon Burke, Vanessa Downing, Teale Howie, Ryan Panizza, Tom Rodgers, Zoran Jevtic, Quinton Rofail Rich, Matthew McDonald, Elijah Williams, Jack Mitsch, Bayley Prendergast, Jack Richardson
Images by Phil Erbacher
Theatre review
Walter has bequeathed his house in upstate New York, to Eric. They had been neighbours in Manhattan who had connected on a deep level, with both being of a similar giving nature, and both in relationships with troubled men. The Inheritance by Matthew López talks about the legacy that exists between generations of gay men, and the struggles that bind them. In part a tribute to E.M. Forster and his novel Howards End, López’s creation is a grand, sprawling tale with ambitions to encapsulate the experiences of gay men as individuals and as collectives. It has a tendency to veer into didacticism, but its characters and narratives are gripping, with an abundance of brilliantly crafted humour and pathos to have us invested, for its lengthy duration of over six hours.
Striking a fine balance between earnestness and levity, direction by Shane Anthony is as enjoyable as it is provocative, always able to have us intellectually stimulated, even as it lulls us into its underscoring romanticism. Replete with passion, The Inheritance bears a seductive power that never lets up, persistent with its need to say something important, about community and about humanity, to an audience that may be queer or straight, liberal or conservative.
Actor Teale Howie is deeply affecting with his restrained but nonetheless deliberative interpretation of Eric, wonderful at establishing a soulful centre for the structurally complex storytelling that we find ourselves relishing in. Toby is Eric’s prideful boyfriend, played by Ryan Panizza with persuasive vulnerability, and with irresistible charm, to earn our sympathetic understanding of the damage that has come to define his personality.
Simon Burke takes on dual roles, compelling as both Walter and E.M. Forster, offering sensitive representations of gay elders, past and present. Walter’s longtime companion Henry is depicted by an intense John Adam, who brings scintillating drama with every appearance. Also noteworthy is Tom Rodgers, whose fragile presence as younger characters Adam and Leo demands that we regard The Inheritance with an open heart, reminding us that life is delicate, and that some may require more care than others, even if the brutality of homophobia may appear indiscriminate. The show can occasionally feel slightly under-rehearsed, but the ensemble impresses with a wonderful sincerity and tenderness, completely believable with all that they wish to impart.
It is a stylish production, with elegant set design by Kate Beere making effective demarcations of space that convince us of the story’s many locations with minimal fuss. Its beauty is enhanced by Alex Berlage’s exquisite lights, rigorous in their explorations of atmosphere, as they deliver calibrations of hue and luminosity that delight at every turn. Costumes by Tim Chappell may not be consistently flattering, but they certainly demonstrate a distinct aesthetic that reflects clarity of perspective. Music by Damien Lane, along with sounds by Jessica Pizzinga, are sensitively rendered, and deeply enchanting, although greater finesse is required for their implementation.
The staging may have its imperfections, but the way it touches the spirit, is quite extraordinary. Henry cannot bear the painful past, and has cultivated a mechanism of only looking ahead, and pretends that history can be discarded, along with all the hurt that he wishes to leave behind. He represents a kind of survival that seems not to be truly fulfilling, as we see a certain contradiction and betrayal, as he goes against his nature, in order to attain something idealistic, rather than something honest. Gay men need to know their histories, so that they can remember to value their advancements, and in turn be able to elevate the positions of those who are still left behind.
Suzy Goes See 