Commentary: Everyone wants a piece of Broadway, but what is Broadway these days?

The London hit “The Inheritance,” inspired by E.M. Forster’s “Howards End” and directed by Stephen Daldry, is playwright Matthew Lopez’s magnum opus.

Tears glisten from time to time in the eyes of Cox’s Jerry and Ashton’s Emma, but you’ll have to pay close attention because almost as soon as they appear, they disappear. Hiddleston’s Robert, a wall of cool masculinity in the well-cut suit of a literary businessman, doesn’t weep. But he does provide a glimpse into what Robert’s implacable façade costs him.

Rapp, a prolific “downtown” playwright making his Broadway debut, hasn’t a commercial bone in his body. “The Sound Inside” may be his most emotionally accessible work, yet the storytelling isn’t as straightforward as it seems. The savviest producers have been recognizing, however belatedly, that playwrights today aren’t writing for conventional Broadway audiences. If the line between off-Broadway and Broadway seems to be blurring, it has as much to do with the richness of the nonprofit pipeline as it does with the Great White Way’s lure of media attention and money. But it’s not enough to simply relocate the work: The theatrical environment must change.

Source: Entertainment Trends (entertainmenttrends.net)

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