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25 of 28 people found the following review helpful:
5.0 out of 5 stars
A triumphant landmark of the U.S. theater, August 26, 2001
Tony Kushner's two part epic play "Angels in America" is truly a landmark of United States literature. The two parts of the play (subtitled "Millennium Approaches" and "Perestroika") together represent a passionate and intelligent exploration of American life during the era of President Ronald Reagan. Kushner peoples his play with individuals who are for the most part "marginal" in some way in U.S. culture. His characters include Mormons, gay men, men with AIDS, Jews, a drug addict, and an African-American drag queen. These various perspectives and voices allow Kushner to create some fascinating dialogues about the "American dream"--and about the nightmares that can go along with it.
Kushner's cast of characters is excellently drawn, but
perhaps his most astounding creation is influential lawyer Roy Cohn, a
fictionalized version of a real historical figure. A gay Jew who is
himself viciously homophobic, Kushner's Cohn is grotesque, hilarious,
frightening, and seductive all at once. This character allows Kushner
to make fascinating statements about power, politics, and sexual
identity.
Also brilliant is Kushner's use of Mormonism and its
theology as an integral component of the play. Kushner is the first
literary artist I know of who has used Mormon themes and motifs in
such a consistently compelling and intelligent way. Kushner is, in my
opinion, neither a proselytizer for nor a basher of Mormonism, but his
presentation of troubled Mormon characters and his apparent satirizing
of some aspects of Mormon theology both strike me as potentially
controversial. Because Mormonism is a religion founded in the U.S.,
this aspect of Kushner's play accentuates the essential
"American-ness" of the piece.
Kushner achieves a stunning
blend of politically charged realism and fantastic, even playful
mysticism in "Angels." His writing is sharp and cutting at
times, and elsewhere tender and haunting. And the play is often quite
funny. Although the action of the play focuses on the Reagan era,
"Angels" often takes in a much larger sweep of U.S., and
even world, history.
"Angels in America" is a fascinating
meditation on power and its abuse, on disease and healing, on honesty
to oneself and to others, and on pluralism and bigotry. A masterpiece
of 20th century literature, this is a play to be seen. But whether or
not you have seen it, it is also a work to be read and pondered.
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9 of 11 people found the following review helpful:
5.0 out of 5 stars
Stellar score, January 28, 2004
With ANGELS, Tony Kushner has accomplished what only a rare few Western writers have managed to do. Integrating biblical knowledge, classical history, myth, poetry and a vast understanding of the human heart in all of its best and worst guises, these plays illuminate with the blinding fire of the angel at its core, the great hypocrisies which lay just beneath the surface of our nation. Like Howard Zinn, and to some extent Studs Terkel, Kushner recognizes that we are not one nation under God. Instead, we seem to be a huge, selfish and confused hoarde attepting to move forward in time with primary moral references to the oldest, and in some ways, least applicable documents and sources of wisdom. Whether one believes that God is "dead" or not, I cannot imagine another work of literature which might promote a more useful theological discussion between so-called liberals and conservatives. Add to this the fact that the stories and characterization are gripping, the heroes are truly admirable and the villains reprehensible. Humans change in profound and permanent ways, and amid the pain of our time, there is -- after a reading of these remarkable plays -- still hope. For once in many years, the Pulitzer Prize moved in the right direction. Whether read or viewed on stage or in its most recent iteration as a superb HBO movie, ANGELS is one of the most rewarding experiences of a lifetime.
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12 of 16 people found the following review helpful:
4.0 out of 5 stars
Deeply Flawed But Nonetheless Brilliant, October 5, 2004
A playscript is a blueprint for a performance--a document that is intended to be interpreted by those trained in theatre arts. For this reason most non-theatre people find reading a play akin to a tour of purgatory: it is often extremely difficult for the layman to imagine how these strings of words on a page will actually play on a stage before a live audience. This is particularly true of Tony Kushner's ANGELS IN AMERICA, a play which even many theatre arts people (myself included) find very, very flat on the page; consequently, I do not really recommend it for those without a background in theatre arts.
Set in 1980s New York and subtitled "A Gay Fantasia on National Themes," the play concerns a group of largely homosexual men who find themselves caught up in series of disasters that range from love to religion and from politics to philosophy--and most specifically caught between the rising tide of AIDS and a generally unsympathetic society. In the midst of this, AIDS patient Pior Walter begins to have a series of visions, which may be fever dreams, medicine-induced hallucinations... or, most unnerving of all, real. His long dead ancestors rise to speak to him, the floor cracks open to reveal a burning book--and at the conclusion of the play's first half a beautiful woman with majestic wings crashes through his roof. She is the Angel of America. He is, she tells him, a prophet, and she has come to bring him a message for mankind.
Intertwined with Prior's other-earthly experiences are oddly parallel lives. Joe and Harper Pitt are a deeply dysfunctional couple doubting their faith in the Mormon Church, Joe a closeted homosexual, Harper a valium-addicted and mildly psychotic woman given to visions as strange as those of Prior Walter's. And as further counterpoint historical figure Roy Cohn (1927-1986), among the most sinister figures of 20th Century America, finds himself taunted by the ghost of Ethel Rosenberg as he drifts toward his own AIDS-induced death. The characters swirl in and out of each other's lives and dreams, playing to stereotypes and yet defying them, arguing politics and philosophy and love and death--and it is fascinating stuff. And the play, which ran six hours and had to be performed across two consecutive evenings, astounded theatregoers: nothing similar had been seen on Broadway since the days of Eugene O'Neill's MOURNING BECOMES ELECTRA.
But for all of this remarkable vortex of dreams and realities, issues and ideas, there is a tremendous problem with ANGELS IN AMERICA, and even the most casual reader should be able to spot it. When an angel crashes through the roof you naturally expect startling revelations to follow--but having spent the first half of his play building to this amazing climax, Kushner seems to have painted himself into a dramatic corner. The ideas, issues, and characters continue to swirl as brilliantly as before, but the angelic revelations and their gradual unraveling seem to be born more of desperation than of true originality.
Is ANGELS IN AMERICA a play that will resonate through time? It is possible, but I think it unlikely. To return to MOURNING BECOMES ELECTRA, that play is very much of its era in terms of style--but it deals with themes and ideas that are of all times and places, and in consequence it remains as powerful today as it was when it startled Broadway some seventy years ago. But ANGELS IN AMERICA is not only stylistically of its place and time, it is also a play that deals specifically with issues peculiar to its place and time, and as our thinking about these issues change the play's authority begins to fade. While it remains required reading (and ideally required viewing) for any one who is seriously interested in theatre, it seems unlikely that it will forever maintain that status.
GFT, Amazon Reviewer
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