ANGELS IN AMERICA Part 2 (Court Theatre): Inspirational Conclusion

ANGELS IN AMERICA Part 2 (Court Theatre):  Inspirational Conclusion


#94.  Court Theatre presents ANGELS IN AMERICA PART TWO:  PERESTROIKA.  My work began last Saturday afternoon with Part One:  Millennium Approaches.  It concluded yesterday with another visit to Court.

Led by Rob Lindley and Larry Yando, the cast are celestial beings.  Under Charles Newell’s expert direction, every character showcases a poignant transformational moment.  There are strong life lessons in relationships, humanity and love. PART 2 provides an inspirational conclusion to this enduring saga.  In a particular moving scene, Lindley and Hollis Resnik (Hannah) cling to each other.  The unexpected shift in characters left me choking back a sob.  Beautiful!

A modified version of the same set is used in both shows.  In PART 2, I was more aware of all the intrinsic work by the design team.   John Culbert (scenic) utilizes a multi-level industrial framework.  The functionality works nicely for placement to transition scenes efficiently.  The harsh, metal backdrop contrasts with flowing white silk accents.  Nan Cibula-Jenkins (costumes), Keith Parham (lights), Joshua Horvath (sound), Kevin O’Donnell (sound), Mike Tutaj (projection) and Rasean Davonte Johnson (projection) add to the aesthetic heaven and earth visual.  They even make it rain.  LOVE IT!

The entire ANGELS IN AMERICA epic is 6 hours and 45 minutes.  I did it in 6 hours and 15 minutes.  I accidentally arrived a half hour late for Part 2.  Kudos to the box office staff that must constantly be dealing with stupid people like myself who get the time and/or date and/or show wrong.  Besides Newell’s masterpiece orchestration on stage, there are Herculean efforts going on behind the scenes, backstage, front of the house, front office.  It takes a Court to pull off something this perfectly sublime!


#86.  “ ‘Angels in America’?  Yeah, I already saw it.’  This has been the standard response from my friends.  They are usually referring to the 2003 Emmy Award-winning television mini-series.  Yeah, I saw it too and frankly didn’t really like it.  But that’s because watching television for me is like white noise and sound.  I’m never completely paying attention. I’m folding clothes, flipping through magazines or painting my toes.  At live theatre, I refrain from doing any of these tasks.  I’m in the room.  I’m in the theatre. My only purpose is to experience the performance… just the way God and Tony Kushner intended.

Court Theatre presents Tony Kushner’s Tony Award-winning ANGELS IN AMERICA, PART ONE:  MILLENNIUM APPROACHES.  It’s 1985.  Republicans are in power.  Homosexuals are in the closet.  AIDS, a mysterious new disease, threatens to indiscriminately unite and eliminate the gay community.  Relationships, religion, and politics are debated as victims are stricken. Prior Walter is the latest tragedy of the debilitating unknown. He has AIDS.  His boyfriend dumped him.  His ancestors haunt him.  And God’s Messenger is coming for him. ANGELS IN AMERICA, PART ONE:  MILLENNIUM APPROACHES infects the audience with riveting hallucinations for a poignant gut check.

Pulitzer Prize-winning Playwright Tony Kushner penned a 1980’s epic.  He perfectly captures the plague-like struggles of the time period.  Eight main characters connect the audience to different dramatic scenarios of the AIDS epidemic. Is it outdated?  I’m certain in its 1990 debut, the audience’s response was much different.  Raging anger?Uncontrollable weeping? Sheer helplessness? Back then, the emotion surrounding the disease would have been very close to home. I lost a friend to AIDS in the early 90’s.  Twenty years ago, AIDS was a death sentence.  Now in 2012, AIDS or HIV+ is a horrible but manageable diagnosis.  So, Kushner’s masterpiece lives on as both a historical depiction of the dark plague of the 80s and 90s and a timeless illustration of human endurance.  With the benefit of hindsight, the focus of the show shifts slightly to relationships.  Knowing a cure is in our future, we can experience the Reagan years on a different level.

Under the direction of Charles Newell, the saga is a well-orchestrated, lyrical movement.  Newell stages it with tight, seamless transitions.  Many times, he overlaps scenes for an unforgettable visual.  At one point, Rob Lindley (Prior) is painfully receiving treatments in the background and his ex, Eddie Bennett (Louis) is blathering about justice, Republicans, Americans in the forefront.  Bennett’s forceful pontification is pivotal to the show but it’s also superfluous in relation to his lover dying.  It’s an incredibly powerful moment.  I feel provoked to tell the rationalizing Bennett to ‘shut it.‘  I refrain since the hilariously, provocative Michael Pogue (Belize) has got the situation under control.  Newell’s sublime cast tethers me to the story, individually and collectively.

Two exceptional standouts among the engaging ensemble are Larry Yando (Roy) and Rob Lindley (Prior).  Yando is wickedly cruel as the closeted, conservative lawyer. Yando, a Chicago musical theatre staple, is almost unrecognizable in this role. I’m use to seeing his lighter-happier-song-and-dance self.  In this show, he’s an outstandingly horrific SOB.  Lindley, on the other hand, is endearing at the center of the disease mayhem.  Lindley amazingly showcases a range of roles:  bitchy queen, spurned lover, hallucinating patient, startled ‘chosen one.‘  An animated Lindley conceals his vulnerability behind a humorous facade of toughness.  ‘Greetings, Prophet! The great work begins! The Messenger has arrived!’

Angels in America?  Yeah, I saw Part 1 for the *first* time yesterday and I’m eagerly anticipating Part 2 on April 29th.

Production photograph courtesy of Michael Brosilow

Running Time:  PART 1:  Three hours includes two intermissions, PART 2:  Three hours and forty-five minutes includes two intermissions 

At Court Theatre, 5535 S. Ellis

Written by Tony Kushner

Directed by Charlie Newell


Tuesdays at 10:30am:  May 15th

Wednesdays at 10:30am: May 16th

Wednesdays at 2:30pm: May 2nd

Wednesdays at 7:30pm: May 9th, 23rd, & 30th

Thursdays at 2:30pm: May 10th

Thursdays at 7:30pm: May 3rd, 17th & 24th

Fridays at 8pm: May 11th, June 1st

Saturdays at 3pm: May 12th, 19th & 26th, June 2nd

Sundays at 2pm: May 6th, 13th, 20th & 27th, June 3rd


Wednesdays at 10:30am: May 23rd & 30th

Wednesdays at 7:30pm: May 2nd

Thursdays at 7:30pm: May 10th & 31st

Fridays at 8pm: May 4th, 18th, 25th

Saturdays at 3pm: May 5th

Saturdays at 8pm: May 5th, 12th, 19th, 26th, June 2nd

Sundays at 7pm: May 6th, 13th, 20th & 27th, June 3rd

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