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Somehow, he had sensed E. Characters and plot points have equivalents in the play, but he has stretched into new themes in a wholly different milieu: a circle of glitteringly witty, chummily affectionate, gay New Yorkers. Forster is a character in the tale, circulating among the men as a spiritual godfather. His nascent attraction to boys also made him different.

The Inheritance

The English Forster — born in , a century before Lopez — hid his sexuality, as his times demanded. On his personal list of trailblazers, Lopez traces a line back through gay poets Walt Whitman and Edward Carpenter , who influenced Forster.

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And he includes Ellen DeGeneres, whose coming out gave him an example of how to live openly. His fascination with theater stretches back to boyhood.

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As an eager newcomer in New York, he got hold of a list of producers and agents and mailed off requests for advice or work of any kind. The admiration continues. He is the real thing: a writer who thinks in scenes, not snippets, and is not afraid of big language and big speeches. The theater world seems to agree.


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Paul Hilton plays him upright and uptight, a tweedy, nasal presence in a sea of easygoing young men. Levine , a twentysomething who was adopted into astonishing privilege. However, as Eric forges a friendship with his frail neighbor Walter a birdlike Paul Hilton , he comes to appreciate the agonies his generation faced, the friends lost, the fears faced down, the hostility encountered day by day.

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Indeed, Lopez asks whether the two cancel each other out, whether equal rights count for anything without equal opportunities. At moments, poverty seems a plague of its own. Anxiety is still killing young men in droves.

Occasionally the play opens out into ideological debate — one puts assimilation against appropriation, another asks if social and economic liberalism are intractable — but for the most part, it makes its arguments structurally. Daldry directs with a gliding theatricality, and his minimalist production might have been passed down by Peter Brook. Props are chucked on, moments hammed up, and the tone is one of boyish conviviality: a huge human story conjured from nothing. At the same time, however, the disjuncture between story and art-form adds a knowing artifice that works wonders.

To truly connect, we first have to feel.

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Part One ends with the heart-rending sight of young men in their prime — the ghosts of those who died after contracting Aids — clustering in silent amity around Eric. Star ratings are almost beside the point when confronted by work of this magnitude but hell, yeah, five. U ntil May We urge you to turn off your ad blocker for The Telegraph website so that you can continue to access our quality content in the future. Visit our adblocking instructions page.


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