Recent Broadway revivals of “Angels in America,” “M. Butterfly,” “The Boys in the Band” and “Torch Song”— shows dealing with the gay experience — have attracted star power, awards and attention. Earlier this year, Tarell Alvin McCraney’s acclaimed Broadway debut, “Choir Boy,” focused on a charismatic gay youth who runs into trouble at his boarding school.

This season looks just as bountiful. Matthew Lopez’s six-hour-long “The Inheritance” is coming to New York after a London run that earned it comparisons to “Angels,” while “Take Me Out,” Richard Greenberg’s study of a baseball player’s coming out, is scheduled to return 17 years after it won the Tony Award for best play.

Wait, let me rephrase for maximum accuracy: It’s the gay-male experience we’re talking about. Lesbians are more elusive on America’s premier stages.

And last season wasn’t even that bad for us, considering that aside from Maureen and Joanne from “Rent,” lesbians are usually relegated to the supporting ranks, like the friendly neighbors in “Falsettos.”