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Angels in America #1
Millennium Approaches
Angels in America is a play in two parts by American playwright Tony Kushner.
The play is a complex, often metaphorical, and at times symbolic examination of AIDS and homosexuality in America in the 1980s. Certain major and minor characters are supernatural beings (angels) or deceased persons (ghosts). The play contains multiple roles for several of the actors. Initially and primarily focusing on a gay couple in Manhattan, the play also has several other storylines, some of which occasionally intersect.
The play is a complex, often metaphorical, and at times symbolic examination of AIDS and homosexuality in America in the 1980s. Certain major and minor characters are supernatural beings (angels) or deceased persons (ghosts). The play contains multiple roles for several of the actors. Initially and primarily focusing on a gay couple in Manhattan, the play also has several other storylines, some of which occasionally intersect.
119 pages, Paperback
First published May 1, 1993
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About the author
Tony Kushner
96 books468 followersTony Kushner is an award-winning American playwright most famous for his play Angels in America, for which he was awarded the Pulitzer Prize. He is also co-author, along with Eric Roth, of the screenplay of the 2005 film Munich, which was directed by Steven Spielberg and earned Kushner (along with Roth) an Academy Award nomination for Best Adapted Screenplay.
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Displaying 1 - 30 of 747 reviews
June 26, 2022
Sometimes I turn giddy when I sense I am reading a classic. I feel impelled, as if by a great force, by an old god who could perhaps kill me, but it is a god who is ridden by genius, a genius who knows how to ride.
I felt like this when I first read Tony Kushner’s Angels in America: Millennium Approaches. First produced in 1991, Angels is set in 1985 in New York City, during the period when AIDS—a problem in the gay community for at least half a decade—began to be recognized by the general public. It tells the story of four men: openly gay decorator Prior Walter, who is afraid of the process of dying of AIDs, and the loneliness and enlightenment it brings; Louis Ironson, Prior’s lover, who is afraid of the sordidness of death itself and the experience of watching someone die; the recently diagnosed, closeted Roy Cohn, the influential right-wing lawyer, who fears the loss of political influence stemming from the label “homosexual”; and Roy’s protegee Joe Pitt, the unhappy married Mormon lawyer, who is afraid of just about everything: his melancholy wife, his cynical career, his sexual identity, his very self.
From the beginning, the play bursts forth with vivid language and memorable characters, and soon, although it never loses its edge, it breaks the bounds of realism and glories in hallucinatory revelation. Joe’s wife Harper, in a fantasy drug haze, visits Antarctica: Roy Coen converses with the on-stage character Ethel Rosenberg, whose execution he engineered a generation before; and Prior—like a young Ebeneezer Scrooge in a gay “Christmas Carol”—receives visits from two of his ancestors (each named Prior) and The Angel of America herself.
The play is a wild congeries of sensation, filled with searing confrontations, witty dialogue, ambitious expressionistic effects, and almost impossible staging. Yet never for a minute do you sense that Kushner lacks control over his materials: each character is finely etched, with a distinctive voice, and the pace and tone, though continually shifting, always seems connected to the overarching themes, the greater melody.
I look forward eagerly to Angels in America, Part II.
Here is an excerpt that gives a good idea of the poetry and depth of Kushner’s language. Prior, diagnosed with AIDS, tells his lover Louis an old family anecdote:
PRIOR: One of my ancestors was a ship’s captain who made money bringing whale oil to Europe and returning with immigrants—Irish mostly, packed in tight, so many dollars per head. The last ship he captained foundered off the coast of Nova Scotia in a winter tempest and sank to the bottom. He went down with the ship—La Grande Geste—but his crew took seventy women and kids in the ship’s only longboat, this big, open rowboat, and when the weather got too rough, and they thought the boat was overcrowded, the crew started lifting people up and hurling them into the sea. Until they got the ballast right. They walked up and down the longboat, eyes to the waterline, and when the boat rode low in the water they’d grab the nearest passenger and throw them into the sea. The boat was leaky, see; seventy people; they arrived in Halifax with nine people on board.
LOUIS: Jesus.
PRIOR: I think about that story a lot now. People in a boat, waiting, terrified, while implacable unsmiling men, irresistibly strong, seize . . . maybe the person next to you, maybe you, and with no warning at all, with time only for a quick intake of air you are pitched into freezing, turbulent water and salt and darkness to drown.
May 29, 2008
Its like doing lines of cocaine while at a Prince concert then going home and reading Foucault.
or
Angels in America is a grandiose, surrealistic bombast of a play dealing with almost every contemporary American facet of being gay in the U.S. during the late 80's to early 90's. Politics, law, Aids, family, religion are all included. Kushner examines these elements and the nature of Power in the states, how it is used in these relationships, and the effect it has on the gay community externally and internally. Ultimately, all these themes are quickly and hilariously weaved together while still maintain a certain insight and poignancy to his dialogue. Theres a lot going on here and you're not going to catch it all but its still will be fun and even somewhat enlightening.
or
Angels in America is a grandiose, surrealistic bombast of a play dealing with almost every contemporary American facet of being gay in the U.S. during the late 80's to early 90's. Politics, law, Aids, family, religion are all included. Kushner examines these elements and the nature of Power in the states, how it is used in these relationships, and the effect it has on the gay community externally and internally. Ultimately, all these themes are quickly and hilariously weaved together while still maintain a certain insight and poignancy to his dialogue. Theres a lot going on here and you're not going to catch it all but its still will be fun and even somewhat enlightening.
April 20, 2020
Iconoclastic & surreal & immediate, this meditation, this fantasia on national themes, probably gets better with age. As the tragedy of HIV/AIDS at its inception in the middle of the Western world becomes more pronounced, even more beautifully terrifying--a seed that will germinate (MUST!) in all members and future members of the LGBtQIA+ community. As Part One ends in a fascinating hyperbolic HALELLUJAH! I cannot even fathom a better link to, a more fanatical search for and more angsty wait for, Part Two of the meteoric American theater God.
January 11, 2011
Harper: I'm not addicted. I don't believe in addiction and I... I never drink and I never take drugs.
Prior: Well, smell you, Nancy Drew.
Harper: Except for Valium.
Prior: Except Valium in wee fistfuls.
Harper: It's terrible. Mormons are not supposed to be addicted to anything. I'm a Mormon.
Prior: I'm a homosexual.
Harper: In my church, we don't believe in homosexuals.
Prior: In my church, we don't believe in Mormons.
Fantastic!
Prior: Well, smell you, Nancy Drew.
Harper: Except for Valium.
Prior: Except Valium in wee fistfuls.
Harper: It's terrible. Mormons are not supposed to be addicted to anything. I'm a Mormon.
Prior: I'm a homosexual.
Harper: In my church, we don't believe in homosexuals.
Prior: In my church, we don't believe in Mormons.
Fantastic!
July 31, 2024
This first part of Angels in America lives up to its reputation: The Pulitzer- and Tony-winning play is a captivating illustration of the AIDS crisis in the 1980's. Main character Prior hails from an old American family. When his health deteriorates due to his AIDS diagnosis, his lover Louis abandons him. Louis, who comes from a Jewish family, then starts a relationship with Joe, a Mormon and Republican who has a Valium-addicted wife and works for lawyer Roy Cohn (a real historical figure who worked for McCarthy and Trump and died of AIDS).
Kushner plays with ideas of transcendence and paranoia when he shows his characters driven to the edge because of fear, shame and anger. Dying Prior, pushed aside by both his lover and society at large, has visions of his ancestors and an angel; Louis wrestles with his guilt and spirals; closeted Joe outwardly submits to his religious and political affiliations while hurting his loved ones and himself, which puts him in constant psychological limbo; Joe's wife, who senses that something is wrong, lives in a Valium-induced haze; and Cohn is haunted by his own ruthlessness: Closeted and unwilling to admit that he has AIDS, he has visions of Ethel Rosenberg, a woman who was, along with her husband, executed for espionage at Cohn's recommendation.
I listened to the award-winning audio production of the National Theatre, starring the likes of Andrew Garfield and Nathan Lane, which was great. Here's a clip of the stage version: https://www.youtube.com/watch?v=eJT1i...
And here's the famous bench scene in which Prior tells Louis that he has AIDS, starring the fantastic Andrew Scott and Dominic Cooper in an earlier production: https://www.youtube.com/watch?v=IRkC6...
Kushner plays with ideas of transcendence and paranoia when he shows his characters driven to the edge because of fear, shame and anger. Dying Prior, pushed aside by both his lover and society at large, has visions of his ancestors and an angel; Louis wrestles with his guilt and spirals; closeted Joe outwardly submits to his religious and political affiliations while hurting his loved ones and himself, which puts him in constant psychological limbo; Joe's wife, who senses that something is wrong, lives in a Valium-induced haze; and Cohn is haunted by his own ruthlessness: Closeted and unwilling to admit that he has AIDS, he has visions of Ethel Rosenberg, a woman who was, along with her husband, executed for espionage at Cohn's recommendation.
I listened to the award-winning audio production of the National Theatre, starring the likes of Andrew Garfield and Nathan Lane, which was great. Here's a clip of the stage version: https://www.youtube.com/watch?v=eJT1i...
And here's the famous bench scene in which Prior tells Louis that he has AIDS, starring the fantastic Andrew Scott and Dominic Cooper in an earlier production: https://www.youtube.com/watch?v=IRkC6...
Read
June 27, 2024FULL THOTS ON THAT PATREON YOU KNOW THE DRILL!!
July 24, 2025
"Millennium Approaches" is the first play of the "Angels in America" dramatic series set in 1980s New York during the HIV/AIDS crisis. It's a wonderfully crafted play alternating between reality and hallucinations or dreams. The scenery is kept to a minimum.
The 1980s was a time of political conservatism and economic greed. The gay community was fighting for rights and survival when AIDS was discovered. The play is about the search for identity, homosexuality, theology, abandonment, and politics. While the play does deal with serious matters, it is also very entertaining, wickedly humorous in some scenes, and creatively presented. The play is written with excellent stage directions which helped in visualizing the action. I imagine it would be an awesome experience to see both "Millennium Approaches" and the second part, "Perestroika," in the theater.
The 1980s was a time of political conservatism and economic greed. The gay community was fighting for rights and survival when AIDS was discovered. The play is about the search for identity, homosexuality, theology, abandonment, and politics. While the play does deal with serious matters, it is also very entertaining, wickedly humorous in some scenes, and creatively presented. The play is written with excellent stage directions which helped in visualizing the action. I imagine it would be an awesome experience to see both "Millennium Approaches" and the second part, "Perestroika," in the theater.
January 20, 2016
There was a scene in the movie Still Alice when the maddeningly sexy Kristen Stewart reads Harper's last monologue from this play to her mother, and it tore my heart out HARD.
The words of the monologue were so unique and touching. I looked up the play and was happy to find it in the queer library close to my house. Read it in a day or two and I have to say I've never read anything quite like Angels in America before.
GOD I LOVE JEWISH WRITERS!!!!!!!!!!!!!!!!!!!!! There I said it.
And GAY JEWISH WRITERS.
My brain had multiple orgasms reading Kushner's witty, stark, wild, righteously angry, politically incorrect, loving, generous, imaginative prose. I only have one question.
HOW?
I mean, how the fuck did he pull this off? Every character in here, from the life-affirming black nurse Belize (Drag Queen name), to Joe the closeted republican clerk, to his wife Harper, the fragile woman in love with her gay husband, to Prior, the terrified man AIDS who is visited by the Angel with the Silver wings, down to his all too human and cowardly boyfriend Louis who abandons him alone in a hospital... They lived. They were so vividly rendered. I ate this up like Tom Cruise eats up Scientology cookies.
And let's not forget the majestically honest and brutally uncompromising Roy Cohn.
Whew. This isn't a review. It's a plead to you all to read this read this read this!!!!
Yet, through all the humor and careful wake-up calls in this masterpiece--Tony Kushner's testimony--I began to feel raw like a fresh wound. Because that's what Angels in America really is twenty years later: a transcript of a time when men ten years younger than I am today were dying, dropping like flies, while the Reagan administration looked the other way.
Only through art, literature and in the hearts of those who still love them can those young men be remembered.
***
The words of the monologue were so unique and touching. I looked up the play and was happy to find it in the queer library close to my house. Read it in a day or two and I have to say I've never read anything quite like Angels in America before.
GOD I LOVE JEWISH WRITERS!!!!!!!!!!!!!!!!!!!!! There I said it.
And GAY JEWISH WRITERS.
My brain had multiple orgasms reading Kushner's witty, stark, wild, righteously angry, politically incorrect, loving, generous, imaginative prose. I only have one question.
HOW?
I mean, how the fuck did he pull this off? Every character in here, from the life-affirming black nurse Belize (Drag Queen name), to Joe the closeted republican clerk, to his wife Harper, the fragile woman in love with her gay husband, to Prior, the terrified man AIDS who is visited by the Angel with the Silver wings, down to his all too human and cowardly boyfriend Louis who abandons him alone in a hospital... They lived. They were so vividly rendered. I ate this up like Tom Cruise eats up Scientology cookies.
And let's not forget the majestically honest and brutally uncompromising Roy Cohn.
Whew. This isn't a review. It's a plead to you all to read this read this read this!!!!
Yet, through all the humor and careful wake-up calls in this masterpiece--Tony Kushner's testimony--I began to feel raw like a fresh wound. Because that's what Angels in America really is twenty years later: a transcript of a time when men ten years younger than I am today were dying, dropping like flies, while the Reagan administration looked the other way.
Only through art, literature and in the hearts of those who still love them can those young men be remembered.
***
May 6, 2017
Well that really was something.
It's hard for me to write a real review of Angels in America: Millennium Approaches because I finished it a few minutes ago and I'm dying, dying to start part two, Perestroika, which is sitting right next to me. But let's try anyway. Quick and dirty, no funny business.
This play is something special, and I knew that almost immediately. Reading the cast of characters page was a bit of a trip at first—it includes a drag queen-turned-nurse, two ghosts, a rabbi, Ethel Rosenberg, an Eskimo, an imaginary travel agent, and an angel, among others. But don't let that turn you off, because it is really, really, really good, and not as bizarre as you might think.
Right off the bat, the dialogue is superb. The way the characters speak and interact feels so real, and this isn't something I'd normally comment on but Kushner's use of punctuation is very effective, it gives a really good indication of the cadence of the lines without actually having to put any parenthetical direction into it. Everyone has a unique way of speaking, too, which is something I notice playwrights tend to struggle with without resorting to drastic accents or overly emotive stage cues.
And every character felt like a real person (not just the ones who actually were, like Roy Cohn & Ethel Rosenberg). It's stunning, truly, how well they're fleshed out despite the length of the play (far too short! I want more!) and the fact that they all have to share the spotlight. They transcend stereotypes in beautiful ways, their words are powerful but human, and the conversations they have are anything but easy and pleasant. They react to heartbreak and disease and confusion the way real people do, they don't act like characters in a play. And there wasn't a single one I disliked, not even the ones that act despicably or forsake the ones they love, because I can understand every one of them, and I can relate to something deep at the core of each one.
There are touches of surrealism, or magical realism at least—a mutual dream scene, a brief foray into Antarctica, divinity-induced arousal. But it really is remarkable how well these blend in with the rest of the piece, and even though they're clearly more fantastical, they feel no less real. I don't think I've ever pictured any play more clearly in my head than this; I had vivid mental images of every character, I could visualise the split scenes (another playwriting tactic Kushner uses to great effect here), I could see the heavenly light and the angel breaking out from above on the very last page, I could hear the triumphant sublimity of the chorus, Hallelujah!, Hallelujah! Glory to!
The whole play cultivates this incredible feeling of something coming, of being right on the very cusp of something profound and terrifying and blindingly beautiful, something unknown but all the more powerful for the not knowing. There's this sense of upheaval, of things set in motion, of being swept up into the awe-inspiring heart of mankind and everything we are. The climax comes at the very end, which of course leads right into part two, but the building anticipation is anything but unsatisfying. What is coming? What is on the other side? What is this grand, sublime thing that has come to save us or smite us, is it plague and damnation or salvation and "softness, compliance, forgiveness, grace"? What will happen when it arrives?
In all this praise I realise I haven't yet answered the big question: What is Millennium Approaches actually ABOUT? Hard to say. I suppose I could just say "the 1980s" or "the AIDS crisis" and that would technically be true, but it wouldn't be much truer than saying the Statue of Liberty is a decently-sized figurine or the Grand Canyon is a large crack. It just doesn't cover it. Yes, the four main male characters are all homosexual; yes, two of them have AIDS; yes, it takes place in New York City in 1985/1986; yes, there's a drag scene and a gay sex scene and several dying-of-AIDS scenes. But the subtitle really says it all: A Gay Fantasia on National Themes. A significant part of Angels in America is about homosexuality, certainly, but rather than ending the theme there—homophobia is bad, AIDS is bad, that's all folks thanks for coming—Tony Kushner uses it as a jumping-off point to explore the complexities of love, justice, identity, religion. And he does so beautifully.
If or when you get the chance, read this play. It is not to be missed.
It's hard for me to write a real review of Angels in America: Millennium Approaches because I finished it a few minutes ago and I'm dying, dying to start part two, Perestroika, which is sitting right next to me. But let's try anyway. Quick and dirty, no funny business.
This play is something special, and I knew that almost immediately. Reading the cast of characters page was a bit of a trip at first—it includes a drag queen-turned-nurse, two ghosts, a rabbi, Ethel Rosenberg, an Eskimo, an imaginary travel agent, and an angel, among others. But don't let that turn you off, because it is really, really, really good, and not as bizarre as you might think.
Right off the bat, the dialogue is superb. The way the characters speak and interact feels so real, and this isn't something I'd normally comment on but Kushner's use of punctuation is very effective, it gives a really good indication of the cadence of the lines without actually having to put any parenthetical direction into it. Everyone has a unique way of speaking, too, which is something I notice playwrights tend to struggle with without resorting to drastic accents or overly emotive stage cues.
And every character felt like a real person (not just the ones who actually were, like Roy Cohn & Ethel Rosenberg). It's stunning, truly, how well they're fleshed out despite the length of the play (far too short! I want more!) and the fact that they all have to share the spotlight. They transcend stereotypes in beautiful ways, their words are powerful but human, and the conversations they have are anything but easy and pleasant. They react to heartbreak and disease and confusion the way real people do, they don't act like characters in a play. And there wasn't a single one I disliked, not even the ones that act despicably or forsake the ones they love, because I can understand every one of them, and I can relate to something deep at the core of each one.
There are touches of surrealism, or magical realism at least—a mutual dream scene, a brief foray into Antarctica, divinity-induced arousal. But it really is remarkable how well these blend in with the rest of the piece, and even though they're clearly more fantastical, they feel no less real. I don't think I've ever pictured any play more clearly in my head than this; I had vivid mental images of every character, I could visualise the split scenes (another playwriting tactic Kushner uses to great effect here), I could see the heavenly light and the angel breaking out from above on the very last page, I could hear the triumphant sublimity of the chorus, Hallelujah!, Hallelujah! Glory to!
The whole play cultivates this incredible feeling of something coming, of being right on the very cusp of something profound and terrifying and blindingly beautiful, something unknown but all the more powerful for the not knowing. There's this sense of upheaval, of things set in motion, of being swept up into the awe-inspiring heart of mankind and everything we are. The climax comes at the very end, which of course leads right into part two, but the building anticipation is anything but unsatisfying. What is coming? What is on the other side? What is this grand, sublime thing that has come to save us or smite us, is it plague and damnation or salvation and "softness, compliance, forgiveness, grace"? What will happen when it arrives?
HARPER: I'm undecided. I feel... that something is going to give. It's 1985. Fifteen years till the third millennium. Maybe Christ will come again. Maybe seeds will be planted, maybe there'll be harvests then, maybe early figs to eat, maybe new life, maybe fresh blood, maybe companionship and love and protection, safety from what's outside, maybe the door will hold, or maybe... maybe the troubles will come, and the end will come, and the sky will collapse and there will be terrible rains and showers of poison light, or maybe my life is really fine, maybe Joe loves me and I'm only crazy thinking otherwise, or maybe not, maybe it's even worse than I know, maybe... I want to know, maybe I don't. The suspense, Mr. Lies, it's killing me.
In all this praise I realise I haven't yet answered the big question: What is Millennium Approaches actually ABOUT? Hard to say. I suppose I could just say "the 1980s" or "the AIDS crisis" and that would technically be true, but it wouldn't be much truer than saying the Statue of Liberty is a decently-sized figurine or the Grand Canyon is a large crack. It just doesn't cover it. Yes, the four main male characters are all homosexual; yes, two of them have AIDS; yes, it takes place in New York City in 1985/1986; yes, there's a drag scene and a gay sex scene and several dying-of-AIDS scenes. But the subtitle really says it all: A Gay Fantasia on National Themes. A significant part of Angels in America is about homosexuality, certainly, but rather than ending the theme there—homophobia is bad, AIDS is bad, that's all folks thanks for coming—Tony Kushner uses it as a jumping-off point to explore the complexities of love, justice, identity, religion. And he does so beautifully.
If or when you get the chance, read this play. It is not to be missed.
February 25, 2024
A sharp, witty script that manages to craft a balance of humour whilst engaging with very serious themes around death and identity, whilst being set during the AIDS epidemic during the 1980s.
I also watched the National Theatre production, with Andrew Garfield starring as one of the main characters, and it was great seeing how the script could be brought to life. This is a play that brilliantly explores character relationships. Whilst at times the dream-like, metaphorical sequences did not click with me as much, they still were interesting.
I also watched the National Theatre production, with Andrew Garfield starring as one of the main characters, and it was great seeing how the script could be brought to life. This is a play that brilliantly explores character relationships. Whilst at times the dream-like, metaphorical sequences did not click with me as much, they still were interesting.
August 7, 2017
If you're gay and haven't read this play, you really need to get on that. If you're in theatre and you haven't read this play, you really need to get on that. If you're a human and you haven't read this play, honestly what are you even doing with your life?
November 12, 2019
"Descendants of this immigrant woman, you do not grow up in America, you and your children and their children with the goyische names. You do not live in America. No such place exists. Your clay is the clay of some Litvak shtetl, your air the air of the steppes-because she carried the old world on her back across the ocean, in a boat, and she put it down on Grand Concourse Avenue, or in Flatbush, and she worked that earth into your bones, and you pass it to your children, this ancient, ancient culture and home"
"The wine-dark kiss of the angel of death"
"Catholics believe in forgiveness. Jews believe in Guilt"
"Do homos take, like, lots of long walks?"
"For God's sake, there's nothing left, I'm a shell. There's nothing left to kill"
"Homosexuals are not men who sleep with other men. Homosexuals are men who in fifteen years of trying cannot get a pissant antidiscrimination bill through City Council. Homosexuals are men who know nobody and who nobody knows"
"Mathilde stitched while William the Conqueror was off to war. She was capable of... more than loyalty. Devotion. / She waited for him, she stitched for years. And if he had come back broken and defeated from war, she would have loved him even more. And if he had returned mutilated, ugly, full of infection and horror, she would still have loved him; fed by pity, by sharing of pain, she would love him even more, and even more, and she would never, never have prayed to God, please let him die if he can't return to me whole and healthy and able to live a normal live....If he had died, she would have buried her heart with him"
"If I want to spend my whole lonely life looking after white people I can get underpaid to do it"
"Maybe the court won't convene. Ever again. Maybe we are free. To do whatever. / Children of the new morning, criminal minds. Selfish and greedy and loveless and blind. Reagan's children. / You're scared. So am I. Everybody is in the land of the free. God help us all"
"The wine-dark kiss of the angel of death"
"Catholics believe in forgiveness. Jews believe in Guilt"
"Do homos take, like, lots of long walks?"
"For God's sake, there's nothing left, I'm a shell. There's nothing left to kill"
"Homosexuals are not men who sleep with other men. Homosexuals are men who in fifteen years of trying cannot get a pissant antidiscrimination bill through City Council. Homosexuals are men who know nobody and who nobody knows"
"Mathilde stitched while William the Conqueror was off to war. She was capable of... more than loyalty. Devotion. / She waited for him, she stitched for years. And if he had come back broken and defeated from war, she would have loved him even more. And if he had returned mutilated, ugly, full of infection and horror, she would still have loved him; fed by pity, by sharing of pain, she would love him even more, and even more, and she would never, never have prayed to God, please let him die if he can't return to me whole and healthy and able to live a normal live....If he had died, she would have buried her heart with him"
"If I want to spend my whole lonely life looking after white people I can get underpaid to do it"
"Maybe the court won't convene. Ever again. Maybe we are free. To do whatever. / Children of the new morning, criminal minds. Selfish and greedy and loveless and blind. Reagan's children. / You're scared. So am I. Everybody is in the land of the free. God help us all"
August 3, 2016
Gosh, I almost forgot how much I love this play! Tony Kushner is a fucking genius, no doubt about it.
Yep, I'm also going to reread "Angels in America, Part Two: Perestroika" and to rewatch the amazing HBO miniseries. Lucky me!
Harper: I'm not addicted. I don't believe in addiction and I... I never drink and I never take drugs.
Prior: Well, smell you, Nancy Drew.
Harper: Except for Valium.
Prior: Except Valium in wee fistfuls.
Harper: It's terrible. Mormons are not supposed to be addicted to anything. I'm a Mormon.
Prior: I'm a homosexual.
Harper: In my church, we don't believe in homosexuals.
Prior: In my church, we don't believe in Mormons.
Yep, I'm also going to reread "Angels in America, Part Two: Perestroika" and to rewatch the amazing HBO miniseries. Lucky me!
Harper: I'm not addicted. I don't believe in addiction and I... I never drink and I never take drugs.
Prior: Well, smell you, Nancy Drew.
Harper: Except for Valium.
Prior: Except Valium in wee fistfuls.
Harper: It's terrible. Mormons are not supposed to be addicted to anything. I'm a Mormon.
Prior: I'm a homosexual.
Harper: In my church, we don't believe in homosexuals.
Prior: In my church, we don't believe in Mormons.
December 2, 2020
Brilliant, over-intellectualized, heartbreaking... everything, really.
February 7, 2012
The master. Have read this and part II twice, watched the mini series, seen a small stage version. Australian writer Robert Dessaix once said Angels in America was one of the few texts that elevated AIDS to art. I agree in this case, though Kushner's work is so much more: truth, beauty and an elegy for modern, fearful America. Here's my 2009 interview with the playwright.
http://www.stevedow.com.au/default.as...
New York playwright Tony Kushner writes about angels, but he is not so sure there is an afterlife. “Religion’s a complicated thing for me,” he says over the phone from the apartment he shares with his husband on Manhattan’s upper west side right behind the Lincoln Centre.
The 52-year-old, best known as the author of Angels in America, the critically lauded two-part play set in the eye of the AIDS storm in the 1980s and a lasting theatrical indictment of the social values of the Reagan era, is an agnostic.
Nonetheless in his most famous work, a self-described “gay fantasia”, Kushner imagines – somehow both poignantly and comically – an angel crashing to earth to summon a dying gay man with AIDS from his sick bed as though the patient, abandoned by his boyfriend, is some sort of prophet.
The first part of Angels in America, Millennium Approaches, earned Kushner the 1993 Pulitzer Prize for drama. It is being revived in Sydney for this Mardi Gras season, almost 19 years since first being performed in a workshop by the Center Theatre Group in Los Angeles in May 1990.
The playwright scored Tonys for both the first and the second part, Perestroika. The HBO filmed mini-series version of Angels in America, made in 2004, combined both parts.
Kushner saw little need to alter the words as the work transferred from theatre script to screenplay: the story remains embedded in the epoch of 1985 and 1986, when young and youngish gay men in America were expected en masse to tend to the ill and the dying and suddenly face their own mortality.
Says Kushner: “It certainly occurred to me at the time that qualities of compassion and sacrifice were being demanded by this biological disaster, at the moment that a new political philosophy had appeared on the scene that insisted sacrifice and compassion were weaknesses and that connection and community were illusions and malevolent.”
The play is careful not to mythologise all gay men as martyrs, however, with one of the main characters, Louis, running away because he is not able to watch his partner Prior’s bodily decay.
The work is about many things and cannot, says Kushner, be reduced to one message; there is no clear line on religion and spirituality or easy lesson to glean from the apocalyptic overtones. Such clever ambiguities as well as strong acting in the mini-series from Al Pacino, Meryl Streep, Jeffrey Wright and Mary-Louise Parker – abetted by Emma Thompson as a rather fetching angel – earned five Golden Globes.
Yet while angels have been willing vessels for Kushner’s explorations, “I struggle with the question of whether there is or there isn’t anything beyond this material world, and I’ve never found an answer that feels in any way definitive,” he says. “[But] I can’t leave [the question] alone either.”
Kushner’s latest play, The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, which makes its world premiere at the Guthrie Theatre in downtown Minneapolis on May 9, sounds a little like the rich blend to be found in Angels in America: high brow drama and quick-witted comedy meets a little politics and theology, all carefully balanced so as not to overwhelm the art.
Or not – who knows? Kushner has vowed not to discuss his new play yet, out of deference to the theatre’s publicity embargo.
In recent years, Kushner has not only proven he is among his country’s greatest playwrights, but can also turn out a successful Broadway musical – Caroline, or Change – as well as screenplays, having co-written Munich for Steven Spielberg.
He’s now writing a film script on Abraham Lincoln for Spielberg and, given Lincoln put into effect the Emancipation Proclamation and the 13th Amendment to the US Constitution – abolishing slavery – the subject matter would seem ideal movie material considering the election of Barack Obama to the US presidency.
Kushner however sounds slightly tentative: “Things are very complicated in Hollywood right now, but Steven seems very pleased with it, and I’m working on it every day. I’m up to my fifth draft at this point. I’m hopeful it will become a film.”
He watched Obama’s inauguration on TV. “I couldn’t go to DC, I was immensely disappointed. Of course I’m excited and thrilled and stayed home and cried through most of the thing,” he laughs. “It’s a day a lot of us thought would happen, but not this soon.”
At the same time, Kushner takes a leaf from the songbook of Neil Young, who sings Impeach the President, and argues George W. Bush should have been tried in court: “I think he’s guilty of war crimes,” says Kushner, citing America’s “secret prisons and torture”: “It was a really criminal administration, and I don’t mean that in any way hyperbolically, I mean it literally.”
In 2003, Kushner and his partner Mark Harris, whom he met at a party in 1998, affirmed their relationship with a commitment ceremony at their favourite New York restaurant, Gabriel’s. The pair – both Jewish, though Kushner says he is observant only during key festivals such as Passover – had a rabbi bless their vows by wrapping the pair in a prayer shawl.
The couple subsequently wed in August 2008 in Massachusetts – where same-sex marriage is legal – and New York State has been compelled by the courts to recognise marriages such as theirs.
The pair look a little alike in photographs – Kushner the taller one, both brunette, both bespectacled – although Harris was described in a notable and charming “vows” column in The New York Times in 2003 as being “as neat as someone in a toothpaste commercial” while Kushner “exudes anxiety”.
Harris, now 45, was formerly the editor at large of Entertainment Weekly magazine, and is now a freelance writer, having recently written the well-received Pictures at a Revolution: Five Movies and the Birth of a New Hollywood.
Kushner readily admits he used to have a lot of “hysteria” in his life and still works best when a deadline has passed, but Harris has soothed him somewhat, and being with someone immersed in pop culture is a good fit.
“Mark is smarter than me,” Kushner insists. “We’re very well matched. We watch a lot of the same things – The Wire, which I think is a great work of art; The Sopranos, which I have enormous admiration for, and shows like The Office – the British version and the American version – I love those. I’m a big fan of Tina Fey and 30 Rock.”
The playwright who delves into theology and realpolitik also has ample time for the disposable, admitting he watches “much too much” television: “Project Runway I can’t live without; I simply adore it, because I don’t know how to make a dress.”
Gay equality will come, he believes. Kushner says it is “unimaginable” that Barack Obama, as a constitutional law scholar – and a man with a “sophisticated understanding of what’s at stake for gay people having equal protection under the law” – will be “anything other than completely supportive of absolute marriage equality”.
Though it may be some years before Obama sets the national tone on the issue and the US courts strike down discriminatory laws, Kushner says.
http://www.stevedow.com.au/default.as...
New York playwright Tony Kushner writes about angels, but he is not so sure there is an afterlife. “Religion’s a complicated thing for me,” he says over the phone from the apartment he shares with his husband on Manhattan’s upper west side right behind the Lincoln Centre.
The 52-year-old, best known as the author of Angels in America, the critically lauded two-part play set in the eye of the AIDS storm in the 1980s and a lasting theatrical indictment of the social values of the Reagan era, is an agnostic.
Nonetheless in his most famous work, a self-described “gay fantasia”, Kushner imagines – somehow both poignantly and comically – an angel crashing to earth to summon a dying gay man with AIDS from his sick bed as though the patient, abandoned by his boyfriend, is some sort of prophet.
The first part of Angels in America, Millennium Approaches, earned Kushner the 1993 Pulitzer Prize for drama. It is being revived in Sydney for this Mardi Gras season, almost 19 years since first being performed in a workshop by the Center Theatre Group in Los Angeles in May 1990.
The playwright scored Tonys for both the first and the second part, Perestroika. The HBO filmed mini-series version of Angels in America, made in 2004, combined both parts.
Kushner saw little need to alter the words as the work transferred from theatre script to screenplay: the story remains embedded in the epoch of 1985 and 1986, when young and youngish gay men in America were expected en masse to tend to the ill and the dying and suddenly face their own mortality.
Says Kushner: “It certainly occurred to me at the time that qualities of compassion and sacrifice were being demanded by this biological disaster, at the moment that a new political philosophy had appeared on the scene that insisted sacrifice and compassion were weaknesses and that connection and community were illusions and malevolent.”
The play is careful not to mythologise all gay men as martyrs, however, with one of the main characters, Louis, running away because he is not able to watch his partner Prior’s bodily decay.
The work is about many things and cannot, says Kushner, be reduced to one message; there is no clear line on religion and spirituality or easy lesson to glean from the apocalyptic overtones. Such clever ambiguities as well as strong acting in the mini-series from Al Pacino, Meryl Streep, Jeffrey Wright and Mary-Louise Parker – abetted by Emma Thompson as a rather fetching angel – earned five Golden Globes.
Yet while angels have been willing vessels for Kushner’s explorations, “I struggle with the question of whether there is or there isn’t anything beyond this material world, and I’ve never found an answer that feels in any way definitive,” he says. “[But] I can’t leave [the question] alone either.”
Kushner’s latest play, The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, which makes its world premiere at the Guthrie Theatre in downtown Minneapolis on May 9, sounds a little like the rich blend to be found in Angels in America: high brow drama and quick-witted comedy meets a little politics and theology, all carefully balanced so as not to overwhelm the art.
Or not – who knows? Kushner has vowed not to discuss his new play yet, out of deference to the theatre’s publicity embargo.
In recent years, Kushner has not only proven he is among his country’s greatest playwrights, but can also turn out a successful Broadway musical – Caroline, or Change – as well as screenplays, having co-written Munich for Steven Spielberg.
He’s now writing a film script on Abraham Lincoln for Spielberg and, given Lincoln put into effect the Emancipation Proclamation and the 13th Amendment to the US Constitution – abolishing slavery – the subject matter would seem ideal movie material considering the election of Barack Obama to the US presidency.
Kushner however sounds slightly tentative: “Things are very complicated in Hollywood right now, but Steven seems very pleased with it, and I’m working on it every day. I’m up to my fifth draft at this point. I’m hopeful it will become a film.”
He watched Obama’s inauguration on TV. “I couldn’t go to DC, I was immensely disappointed. Of course I’m excited and thrilled and stayed home and cried through most of the thing,” he laughs. “It’s a day a lot of us thought would happen, but not this soon.”
At the same time, Kushner takes a leaf from the songbook of Neil Young, who sings Impeach the President, and argues George W. Bush should have been tried in court: “I think he’s guilty of war crimes,” says Kushner, citing America’s “secret prisons and torture”: “It was a really criminal administration, and I don’t mean that in any way hyperbolically, I mean it literally.”
In 2003, Kushner and his partner Mark Harris, whom he met at a party in 1998, affirmed their relationship with a commitment ceremony at their favourite New York restaurant, Gabriel’s. The pair – both Jewish, though Kushner says he is observant only during key festivals such as Passover – had a rabbi bless their vows by wrapping the pair in a prayer shawl.
The couple subsequently wed in August 2008 in Massachusetts – where same-sex marriage is legal – and New York State has been compelled by the courts to recognise marriages such as theirs.
The pair look a little alike in photographs – Kushner the taller one, both brunette, both bespectacled – although Harris was described in a notable and charming “vows” column in The New York Times in 2003 as being “as neat as someone in a toothpaste commercial” while Kushner “exudes anxiety”.
Harris, now 45, was formerly the editor at large of Entertainment Weekly magazine, and is now a freelance writer, having recently written the well-received Pictures at a Revolution: Five Movies and the Birth of a New Hollywood.
Kushner readily admits he used to have a lot of “hysteria” in his life and still works best when a deadline has passed, but Harris has soothed him somewhat, and being with someone immersed in pop culture is a good fit.
“Mark is smarter than me,” Kushner insists. “We’re very well matched. We watch a lot of the same things – The Wire, which I think is a great work of art; The Sopranos, which I have enormous admiration for, and shows like The Office – the British version and the American version – I love those. I’m a big fan of Tina Fey and 30 Rock.”
The playwright who delves into theology and realpolitik also has ample time for the disposable, admitting he watches “much too much” television: “Project Runway I can’t live without; I simply adore it, because I don’t know how to make a dress.”
Gay equality will come, he believes. Kushner says it is “unimaginable” that Barack Obama, as a constitutional law scholar – and a man with a “sophisticated understanding of what’s at stake for gay people having equal protection under the law” – will be “anything other than completely supportive of absolute marriage equality”.
Though it may be some years before Obama sets the national tone on the issue and the US courts strike down discriminatory laws, Kushner says.
April 18, 2007
ROY: Your problem, Henry, is that you are hung up on words, on labels, that you believe they mean what they seem to mean. AIDS. Homosexual. Gay. Lesbian. You think these are names that tell you who someone sleeps with, but they don't tell you that.
HENRY: No?
ROY: No. Like all labels they tell you one thing and one thing only: where does an individual fit into the food chain, the pecking order? Not ideology, or sexual taste, but something much simpler: clout. Not who I fuck or who fucks me, but who will pick up the phone when I call, who owes me favors. This is what a label refers to.
HENRY: No?
ROY: No. Like all labels they tell you one thing and one thing only: where does an individual fit into the food chain, the pecking order? Not ideology, or sexual taste, but something much simpler: clout. Not who I fuck or who fucks me, but who will pick up the phone when I call, who owes me favors. This is what a label refers to.
March 3, 2023
Just before I started college, I saw the Broadway revival of “Angels in America” starring Nathan Lane and Andrew Garfield — eight hours of theatre in one day! It was the greatest artistic triumph I’d ever witnessed and completely redefined my understanding of theatre.
I’m happy to finally be able to read the play. Of course, without the staging, it’s an incomplete story, but that’s not the text’s fault.
I’m happy to finally be able to read the play. Of course, without the staging, it’s an incomplete story, but that’s not the text’s fault.
August 31, 2015
Angels in America is one of the most ambitious pieces of mainstream American theatre ever staged, and one of the most rewarding. Criss-crossing biblical metaphor with the AIDS crisis of the 80s, it is massively successful in creating a story and characters that are both empathetic and strewn with fantastical majesty. An extraordinary piece of drama. Also, surprisingly humorous.
April 21, 2024
LISTENED TO THE AUDIOBOOK RAHHHHH!!! will always be my favorite play (idk if anyone will care but i listenned to this whole thing while finishing a whole ass research paper for chemistry call me a multi-tasking idiot♡)
December 22, 2021
On of the best things I’ve ever read. I am desperate to see this performed live. It’s enduring relevance to today’s society is simultaneously heartbreaking and thought provoking.
PRIOR: One of my ancestors was a ship’s captain who made money bringing whale oil to Europe and returning with immigrants—Irish mostly, packed in tight, so many dollars per head. The last ship he captained foundered off the coast of Nova Scotia in a winter tempest and sank to the bottom. He went down with the ship—La Grande Geste—but his crew took seventy women and kids in the ship’s only longboat, this big, open rowboat, and when the weather got too rough, and they thought the boat was overcrowded, the crew started lifting people up and hurling them into the sea. Until they got the ballast right. They walked up and down the longboat, eyes to the waterline, and when the boat rode low in the water they’d grab the nearest passenger and throw them into the sea. The boat was leaky, see; seventy people; they arrived in Halifax with nine people on board.
LOUIS: Jesus.
PRIOR: I think about that story a lot now. People in a boat, waiting, terrified, while implacable unsmiling men, irresistibly strong, seize . . . maybe the person next to you, maybe you, and with no warning at all, with time only for a quick intake of air you are pitched into freezing, turbulent water and salt and darkness to drown.
PRIOR: One of my ancestors was a ship’s captain who made money bringing whale oil to Europe and returning with immigrants—Irish mostly, packed in tight, so many dollars per head. The last ship he captained foundered off the coast of Nova Scotia in a winter tempest and sank to the bottom. He went down with the ship—La Grande Geste—but his crew took seventy women and kids in the ship’s only longboat, this big, open rowboat, and when the weather got too rough, and they thought the boat was overcrowded, the crew started lifting people up and hurling them into the sea. Until they got the ballast right. They walked up and down the longboat, eyes to the waterline, and when the boat rode low in the water they’d grab the nearest passenger and throw them into the sea. The boat was leaky, see; seventy people; they arrived in Halifax with nine people on board.
LOUIS: Jesus.
PRIOR: I think about that story a lot now. People in a boat, waiting, terrified, while implacable unsmiling men, irresistibly strong, seize . . . maybe the person next to you, maybe you, and with no warning at all, with time only for a quick intake of air you are pitched into freezing, turbulent water and salt and darkness to drown.
July 9, 2020
no thoughts, head empty. anything i could ever say about this play is wholly incompetent and infinitesimal compared to what the play itself is saying about queer existence in America - and America itself, for that matter. if i could find the words to express my deep appreciation for this play, i would most likely invent a language that would strike you deep within your soul with its every word.
one language i can speak is that of comparison (please forgive my pea brain of a tired English major that can only think of books in terms of essays she can write about them): if Who's Afraid of Virginia Woolf? was queer, it would be Millennium Approaches. i- yeah. definitely one of the greatest plays i've read to date (i haven't read that many, but). i think if i ever get to se eit on stage i will straight up perish immediately, just when the curtains open.
can't wait to express my wholly incompetent opinion in lecture tomorrow🤧
one language i can speak is that of comparison (please forgive my pea brain of a tired English major that can only think of books in terms of essays she can write about them): if Who's Afraid of Virginia Woolf? was queer, it would be Millennium Approaches. i- yeah. definitely one of the greatest plays i've read to date (i haven't read that many, but). i think if i ever get to se eit on stage i will straight up perish immediately, just when the curtains open.
can't wait to express my wholly incompetent opinion in lecture tomorrow🤧
Read
November 29, 2022A beautiful, painful, sorrowful, agonizing, unsettling, Stirring, brave, surreal play. And I could go on longer if it weren’t for grammatical restrictions, which by the way I have already broken. Reading this drama stirred many strong emotions in me that I find it difficult to explain. It felt like I was desperately poking my fist in an open bleeding wound in a search for a cure.
I come from a society that forbids love outside marriage and as a result I felt most sympathetic towards Joe who feels chained down with his religion and society. When he stretched his arm just to touch Louis face, I felt with all my heart what weight he was carrying in his heart. Because I know how it feels when you feel guilty to love.
“Joe: I... want... to touch you. Can I please just touch you . . . um, here? (He puts his hand on one side of Louis's face. He holds it there) I'm going to hell for doing this.
LOUIS: Big deal. You think it could be any worse than New York City?” (page 122)
I come from a society that forbids love outside marriage and as a result I felt most sympathetic towards Joe who feels chained down with his religion and society. When he stretched his arm just to touch Louis face, I felt with all my heart what weight he was carrying in his heart. Because I know how it feels when you feel guilty to love.
“Joe: I... want... to touch you. Can I please just touch you . . . um, here? (He puts his hand on one side of Louis's face. He holds it there) I'm going to hell for doing this.
LOUIS: Big deal. You think it could be any worse than New York City?” (page 122)
December 15, 2008
I think that this had to be the first play that I appreciated on a level beyond literature. I've gone through a ton of different playrights, and I feel that there's something so human about this piece that transcends the subject matter. Gay or straight, it's something I recommend to everyone. I also highly recommend the TV series by HBO.
October 25, 2021
I'm teaching this right now and just finished reading Part 1 for the umpteenth time. On this reading, I'm focusing on my course themes of movement and migration, and how these relate to American identity and citizenhood.
May 21, 2024
I'm very excited to work a bit on this show this summer!
July 19, 2025
I think I'm gonna need to sit and process this one for a bit
June 1, 2022
2022
"Pretty soon... all the old will be dead".
"I don't think there's an uninfected part of me".
"For God's sake, there's nothing left, I'm a shell. There's nothing left to kill".
"When you pray, what do you pray for?
I pray for God to crush me, break me up into little pieces and start all over again".
"What scares me is that maybe what I really love in her is the part of her that's fathest from the light, from God's love; maybe I was drawn to that in the first place. And I'm keeping it alive because I need it".
"Keep going.
Infect me.
I don't care. I don't care". 3
"You're old enough to understand that your father didn't love you without being ridiculous about it".
"Even hallucinations have laws".
"Can I... I... want... to touch you. Can I please just touch you... um, here?".
Simplemente la razón por la que me levanto todos los días (a trabajar pa tener dinero y comprar estos derechos, Tony).
2016
Adoro esas obras en las que mataría por hacer todos lo personajes, masculinos y femeninos. Y dirigirla. Ángeles en América I es una de ellas. Muero por leer la segunda parte.
"Pretty soon... all the old will be dead".
"I don't think there's an uninfected part of me".
"For God's sake, there's nothing left, I'm a shell. There's nothing left to kill".
"When you pray, what do you pray for?
I pray for God to crush me, break me up into little pieces and start all over again".
"What scares me is that maybe what I really love in her is the part of her that's fathest from the light, from God's love; maybe I was drawn to that in the first place. And I'm keeping it alive because I need it".
"Keep going.
Infect me.
I don't care. I don't care". 3
"You're old enough to understand that your father didn't love you without being ridiculous about it".
"Even hallucinations have laws".
"Can I... I... want... to touch you. Can I please just touch you... um, here?".
Simplemente la razón por la que me levanto todos los días (a trabajar pa tener dinero y comprar estos derechos, Tony).
2016
Adoro esas obras en las que mataría por hacer todos lo personajes, masculinos y femeninos. Y dirigirla. Ángeles en América I es una de ellas. Muero por leer la segunda parte.
August 9, 2021
Actual rating: 4.5 out of 5 stars
It's hard to describe this play without wanting to divulge every single detail. Millennium Approaches is the first part of what many consider a gay epic, and it's easy to see why. Not only is the amount of characters truly extraordinary, but there is something so funny, so bittersweet, and so critical about this play that it feels like a tale for the ages, a tale of time. And it truly is. While I didn't connect with the second act as much as the other two, this play is truly something.
Set in the mid-1980's at the height of the AIDS crisis in America, Roy Cohn attempts to manipulate his way into a higher position of power, two who work in Roy's company struggle with their own problems (Joe with a Valium-addicted and hallucinating wife who he may have never loved, Louis with a boyfriend dying of AIDS that he can't handle), and an angel is hinted at coming to Earth as a messenger. I can imagine seeing it is truly a sight to behold, and I know I must read the second part and watch the miniseries to get more of this ensemble, hear their invigorating voices as many times as possible.
It's hard to describe this play without wanting to divulge every single detail. Millennium Approaches is the first part of what many consider a gay epic, and it's easy to see why. Not only is the amount of characters truly extraordinary, but there is something so funny, so bittersweet, and so critical about this play that it feels like a tale for the ages, a tale of time. And it truly is. While I didn't connect with the second act as much as the other two, this play is truly something.
Set in the mid-1980's at the height of the AIDS crisis in America, Roy Cohn attempts to manipulate his way into a higher position of power, two who work in Roy's company struggle with their own problems (Joe with a Valium-addicted and hallucinating wife who he may have never loved, Louis with a boyfriend dying of AIDS that he can't handle), and an angel is hinted at coming to Earth as a messenger. I can imagine seeing it is truly a sight to behold, and I know I must read the second part and watch the miniseries to get more of this ensemble, hear their invigorating voices as many times as possible.
December 13, 2015
Wow. This play certainly has a grandiose delivery. This book focuses on the AIDS crisis in New York City (Yes, it gets compared to RENT occasionally because they were both written for the stage around the same time and deal with similar subject matter and occasionally delve into the surreal. The two plays are drastically different, trust me). This play focuses on the stark reality of AIDS and it impact on people's lives as well as what it meant to be gay in the 1980s. It also uses unique surrealistic images and actual historical figures, like Roy Cohn to create surprisingly intense and emotional story. I will say that sometimes the surrealism goes flying over my head, but generally this a very powerful and moving play.
March 28, 2017
Okay this was fantastic! I don't really know what I was expecting to happen in the first part of this play, but I loved what I found! I can't wait to read part two for class! I don't even know what words I want to use right now to convey how much I really, really enjoyed this!!
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