Overview
Synopsis
Angels in America is Tony Kushner’s two-part, seven-hour epic, which he describes as “A Gay Fantasia on National Themes.” In the first part, we meet Louis and Prior and Harper and Joe, two couples whose relationships are on the rocks: the former because of Prior’s AIDS diagnosis and Louis’s inability to cope with illness, the latter because of Joe’s closeted homosexuality and Harper’s incessant fears and hallucinations, as well as her addiction to pain-killers. As we follow these couples’ trials, we come across a handful of other colorful characters, including Roy Cohn, a malevolent, secretly gay Republican lawyer, political power broker, and mentor of Joe’s who is dying of AIDS; Belize, Prior’s ex-lover and a former drag queen who is stuck in the middle of Prior and Louis’s failing relationship; Hannah, Joe’s straight-laced, no-nonsense Mormon mother from Salt Lake, and The Angel, a divine emanation who appears to Prior as a messenger of God to inform him that “The Great Work” is about to begin. Using these characters as mouthpieces, Kushner characteristically dives deeply into political and intellectual themes while generating a vital, living, breathing story, and populating it with characters, both real and fictional, whom we come to both love and abhor.
Show Information
- Book
- Tony Kushner
- Category
- Play
- Age Guidance
- Mature Audiences (M)
- Number of Acts
- 3
- First Produced
- 1993
- Genres
- Drama, Dark Comedy
- Settings
- Contemporary, Fantasy/Imaginary, Simple/No Set
- Time & Place
- New York City, Elsewhere, 1985-1986
- Cast Size
- medium
- Licensor
- Samuel French
- Ideal For
- College/University, Professional Theatre, Regional Theatre, Mostly Male Cast, Includes Adult, Mature Adult Characters, Medium Cast
Context
Angels in America: Millennium Approaches was commissioned and developed by two California Theaters, Los Angeles’ Center Theatre Group at the Mark Taper Forum, where it received its initial workshop in May 1990, and San Francisco’s Eureka Theater, where it was produced the subsequent year. A London production followed shortly thereafter, running for a year at the National Theater. Parts One and Two, Millennium Approaches and Perestroika, opened on Broadway at the Walter
to read the context for Angels in America, Part One: Millennium Approaches and to unlock other amazing theatre resources!Plot
Act One
Rabbi Isidor Chemelwitz of the Bronx Home for Aged Hebrews (played by the same actress playing Hannah Pitt) stands onstage with a small coffin. It is late October, 1985. He delivers a eulogy for Sarah Ironson, Louis’s grandmother, in a heavy Eastern European accent. Sarah, whom he says he did not actually know very well, represents an entire generation of people who “crossed the ocean,” who landed in America, “the melting pot that never melted,” and who struggled “for the family,
to read the plot for Angels in America, Part One: Millennium Approaches and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Non-singer |
|
|
Lead |
Male |
Non-singer |
|
|
Lead |
Female |
Non-singer |
|
|
Lead |
Male |
Non-singer |
|
|
Lead |
Male |
Non-singer |
|
|
Hannah Porter Pitt / Rabbi Isidor Chemelwitz / Henry / Ethel Rosenberg |
Supporting |
Female |
Non-singer |
|
Supporting |
Male |
Non-singer |
|
|
The Angel / Emily / Sister Ella Chapter / The Woman in the South Bronx |
Supporting |
Female |
Non-singer |
Songs
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
An anxiety disorder involving fear of open spaces or crowds, explored in theatre to depict psychological conflict.
Acquired Immune Deficiency Syndrome (AIDS) is a medical condition caused by the HIV virus that weakens the immune system. It has had a profound impact on the performing arts community, particularly in the late 20th century, as many artists and organizations have addressed its social and personal effects through theatre.
An ancestor is a person from whom one is descended. In theatre, the term may appear in plays dealing with family heritage, legacy, or traditional beliefs, especially in cultural or historical works.
A non-literal theatrical scene representing a character's inner thoughts, fears, or desires, often surreal in style.
A musical composition with free form and structure, often incorporating multiple themes or variations.
A sensory experience that appears real but is created by the mind; often portrayed in drama for psychological effect. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
Prejudice or discrimination against LGBTQ+ individuals, sometimes explored as a theme in dramatic works. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
A reference to members of The Church of Jesus Christ of Latter-day Saints, sometimes featured in theatre as cultural or religious characters. Their representation has appeared in notable works such as satirical musicals and dramas exploring faith and identity.
A prestigious U.S. award for achievements in journalism, literature, and drama. Many modern plays that reflect social and political themes have received this honor.
A genre that centers LGBTQ+ characters and themes, challenging heteronormative narratives and celebrating diverse identities in performance.
In historical drama, often refers to supporters of a republic over monarchy. The term appears in plays about revolution, politics, and power.
A staging technique where two or more locations are shown simultaneously onstage, often highlighting thematic parallels or contrasts.
A High German-derived language historically spoken by Ashkenazi Jews, used in a unique tradition of Jewish theatre.
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Themes, Symbols & Motifs
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