That’s not just my complaint: It’s also the main character’s. He is Ezra, a gay man in his late 30s. (Embodied by Jesse Tyler Ferguson, he may remind you of Mitchell Pritchett, whom Mr. Ferguson plays on “Modern Family.”) You sense that Ezra would like the world to stop spinning now that it has landed him in a good situation. He’s got his husband, Chris; their lesbian friends Jules and Pam; and, through them, the promise of parental engagement (but not too much) as honorary uncles to the baby the women are expecting.

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The four are barely characterized beyond that; each has just a trait or two. Ezra is quippy and white; Chris (Phillip James Brannon) is dry and black; Pam (Cindy Cheung) is laconic and Asian-American; Jules (Dolly Wells) is irreverent and British. Mostly they are notable for their complacency, which is not just economic. Having lived through the liberation wars, or at least having read about them, they now intend to enjoy the success they inherited — quince paste, anyone? — by doing whatever they like.

Into this nest of mild-mannered entitlement — most of the action takes place in Jules and Pam’s sleek Brooklyn apartment — comes Henry, a transgender man whom Ezra knew in childhood as Helen. Everything about Henry (Ian Harvie) is a challenge to the gay couples, and not just in throwing them off their pronouns.

“They want us to get it wrong,” Jules says. “They’re filling a quota of perceived transgressions.”

But it’s more profound than that; Henry’s rendition of masculinity is the kind they all suffered from, and learned to loathe, as homosexuals. He is, for instance, notably condescending to his chatterbox young girlfriend, Myna (Talene Monahon) — but then so is the play in giving her that name.