I’m looking for that Cynthia Nixon moment,” John Benjamin Hickey says on a rare day off. “That impossible dream of having two things go at once.”

Playwright Matthew Lopez on his new, must-see show's huge ambition, multiple parts, and electrifying performances.

Bringing Howards End into today’s gay Manhattan, playwright Matthew Lopez shows that “Only Connect” is still a radical message.

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.

Much more than your typical straight play, sound factors heavily in Matthew Lopez’s “The Inheritance”—and that’s not just the audible sobs rumbling through the theater at every performance.

How Matthew Lopez adapted E. M. Forster’s Edwardian novel into the modern-day queer play The Inheritance.

The professional and personal have blurred for young cast members of Matthew Lopez’s play, which offers a communion with victims of the AIDS crisis.

"I think the history of the LGBT community can be told as a history of made and found families."

Having won the Olivier for Best New Play, Lopez shepherds his two-part play to the Broadway.

There’s one scene in “The Inheritance,” the upcoming two-part epic that took London by storm, that will benefit from the show’s transfer to Broadway.

Lopez has been a talent to watch ever since his 2011 play “The Whipping Man” became one of the most widely produced new American plays of the past decade.

The play shattered audiences in a sold-out run at London’s Young Vic when it premiered in March 2018; The Guardian’s Michael Billington praised director Stephen Daldry’s “crystalline production” and noted that the play “pierces your emotional defenses, raises any number of political issues and enfolds you in its narrative.”