Most Broadway seasons feature at least one show that gathers an aura of importance even before it opens. This year it is undoubtedly “The Inheritance,” Matthew Lopez’s two-part, nearly seven-hour drama about a generation of contemporary gay men searching for love, pleasure, happiness — and a sense of purpose — with all the turbulence the process involves.
The play arrives on a mighty gust of superlative reviews from its premiere in London. Such towering expectations can bring their own peril, with skeptical eyebrows ready to be raised: Can it really be that good?
