02
Feb
2015
[For Thom White's review of part one of the District Theatre's Angels in America, visit "Darkness and Plight."]
Something clicked for the cast and crew of the District Theatre's Angels in America: Millennium Approaches since November, and now Angels' second half, Perestroika, is notably better for it. Director Deb Shippy and her cast have embraced the humor of playwright Tony Kushner's magnum opus, and the result is an emotionally layered staging that's superior to last fall's production.
With its emotional language and poetic imagery, Tony Kushner's Angels in America - the playwright's "gay fantasia on national themes" composed of two parts subtitled Millennium Approaches and Perestroika - is among my favorite scripts. And there are times at which the District Theatre's production of Millennium Approaches nails the nuances of Kushner's writing, allowing the beauty of his intent to be on full display.
If you attend The Green Room's current production of Angels in America: Perestroika, I assume you know that you'll be entering playwright Tony Kushner's work halfway through, as part one of this two-part saga, Millennium Approaches, debuted at the Rock Island venue on Halloween. The back page of Perestroika's program provides a very bare-bones summary (or refresher) on what previously occurred in Kushner's epic exploration of the 1980s, but, I'll venture, your enjoyment of this second outing will be significantly enhanced by familiarity with the show - and not just familiarity with the Green Room's first installment.
Tony Kushner's Angels in America has an intimidating reputation: It's a work in two parts - Millennium Approaches and Perestroika - that earned its playwright a Pulitzer Prize; it boldly explores religion, politics, and homosexuality in Reagan's America; and its two leading figures are men recently diagnosed with AIDS. So where, in regard to The Green Room's current presentation of Millennium Approaches, do I begin in describing just how much freaking fun this show is?
During a recent post-show conversation, an actor friend and I agreed that perhaps the most exciting moments at any theatrical production are those few seconds before the production even starts, when the lights dim, cell phones (please God) are turned to silent or vibrate, and the venue becomes alive with possibility - with the awareness that, in this live art form, absolutely anything can happen.
