Sir, As is the case with most internet opinion factories: Prove it or stop defending. "In the tradition..." Blah blah blah. Thi sis my very case in point - they rely on the ignorance and wistful acceptance of a gullible "anything is exposure" agenda. Don;t attack the messenger - this forum is full of far more scholarly types than me - but I still challenge you or any other "Vehemently" types to actually DO THE WORK. Case in point:Even the seminole moment in the play , when he apes Froster to come to the line "The INheritance" is a direct plagirism of Tom Stoppard's Invention of Love - when Oscar Wilde's character does exaclty the same thing - in a conversation with AE Housemann -Basically, Housmann calls Wilde an outlandish something or other - to which Wilde replies "At least, I LIVED!" -- then Wilde retors Hausemann: to the effect of asserting Hausmann is a moral failure and let down the cause (of gays I guess). Sound FAMILIAR?Now, again, PROVE ME WRONG. It's a direct LIFT.
You can get a copy of the play script at Drama Bookshop in NYC. That's where I bought my copy from a few months ago. I actually bought a few copies after reading it and gave them as holiday presents to a few friends who I think might enjoy it.
Scotarts said: Case in point:Even the seminole moment in the play , when he apes Froster to come to the line "The INheritance" is a direct plagirism of Tom Stoppard's Invention of Love - when Oscar Wilde's character does exaclty the same thing - in a conversation with AE Housemann -Wait a minute --- is it now a play about gay Native Anericans?
I actually have no desire to read this play before I see it either here when it transfers or in London when I'm there next summer. And, frankly, I don't care if someone hates or loves this play. It means absolutely nothing to me. But arguing that middle aged playwrights in 2018 can't write plays about the AIDS epidemic is so flipping insane that it only underlines how unhinged the rest of the posts are from this user.I certainly don't need to provide bona fides to anyone here but I'm a middle aged man who has performed in the works of Kushner, Fierstein and Kramer. Stop thinking you're giving me any kind of education. I've forgotten more about the theater than you've ever learned. Good day, sir.I said good day.
I mean, I think the play is derivative, but I think it's part of the point. With its evident references to AiA, Love! Valour! Confession! etc, the play is putting itself in dialogue with previous gay plays, showing the inheritance of previous works of LGTB-themed theatre. The only time it gets a bit too much is when Tristan says goodbye before leaving for Canada - that's really a Belieze's rip-off
If only there were some clue as to why The Inheritance would be influenced by gay plays of the past, given that it's a play about generations of gay men passing along their history. Hmm. Total mystery there.
Sad that with the horrendous grosses of Torch Song, there's no way this is coming to bway without a few big names. Maybe Park Ave Armory or St Ann's Warehouse will pick it up.
TotallyEffed said: "I can’t imagine this not coming to New York." It is coming next season...maybe Sonia & Tom will produce w/ either MTC or put it at the Hudson in the fall!?
I hope it also comes to New York but the play is not a sold-out house in the West End. When it was off-west end it was very hard to get a ticket but it seems like it's easier to get a ticket nowadays.Wouldn't Vanessa Redgrave be the big name?Boys in the Band did really well probably because of the all-star cast. Torch Song did really well off-bway but I'm not sure why it's not doing well now (perhaps timing? marketing?) Angels in America had big names too but it struggled in the box office (probably due to the length.)
The Ferryman's cast boasts zero starpower in the US, it is fairly long (not two parts, but still), and is about a topic most Americans have little familiarity with, and yet it is doing very well based on its prestige and word of mouth. A limited run in a moderate-sized house on Broadway should do fine.
Jordan Catalano said: "Redgrave is in the show for about 15 minutes in part 2. You can’t sell this show on her (or any actor playing that part) name alone." Sure you can. If they had Redgrave (or Judi Dench or Maggie Smith or any one of the old Grande Dames), people wouldn't care how long they were actually on stage in the show --- they'd just need to see her make an appearance.
qolbinau said: "Also agree. I’m surprised anyone would describe this as one of Redgrave’s finest moments on stage. Maybe I saw her on an off night but she seems far too old, tentative in the role, lines, accent and movement.I am so glad I saw this and did enjoy myself, but if you are expecting this to be a life changing experience and the best theatre you’ve ever seen in your life I can’t help but predict many will be disappointed. It’s so not as important as the creative team and cast thinkit is. It mighthave been if we didn’t already have such high quality gay HIV-themed plays in the past."I agree. I saw the show twice and both times she seemed to being fed lines via an earpiece or maybe just took way too long on her cues.
I saw this in London last week. It will come to Broadway and win the Pulitzer and TONY for Best Play.
Campbell5 said: "I saw this in London last week. It will come to Broadway and win the Pulitzer and TONY for Best Play."Yep. Agreed.
Jordan Catalano said: "Redgrave is in the show for about 15 minutes in part 2. You can’t sell this show on her (or any actor playing that part) name alone."Of course you can. If Meryl Streep did it...
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