Running since february 2018 A revival of Tony Kushner's Pulitzer Prize-winning drama that presents a complex, often metaphorical, and at times symbolic examination of AIDS and homosexuality in America in the 1980s.
From the producers: In Tony Kushner's Pulitzer Prize-winning play, set in 1980s New York City, a gay man is abandoned by his lover when he contracts the AIDS virus, and a closeted Mormon lawyer's marriage to his pill-popping wife stalls. Other characters include the infamous McCarthy-ite lawyer Roy Cohn, Ethel Rosenberg, a former drag queen who works as a nurse, and an angel.
Ticketing Note: "Angels in America" is a two-part performance. Part 1: "Millenium Approaches" and part 2: "Perestroika" are sold together. WEDNESDAYS: Part 1 at 1PM and Part 2 at 7PM THURSDAYS & FRIDAYS: Part 1 on Thursday at 7PM and Part 2 on Friday at 7PM SATURDAYS: Part 1 at 1PM and Part 2 at 7PM SUNDAYS: Part 1 & 2 alternate every other Sunday at 2PM
Playwright Tony Kushner's "Angels in America: A Gay Fantasia on National Themes" won numerous awards, including the Pulitzer Prize for Drama, the Tony Award for Best Play, and the Drama Desk Award for Outstanding Play. The entire two-part play debuted on Broadway at the Walter Kerr Theatre in 1993, with part 1 opening first and part 2 joining it in repertory later that year. The two parts of the play are titled "Millennium Approaches" and "Perestroika," respectively. The play has been adapted into a television miniseries, and an opera by Peter Eötvös.
The current staging crosses the pond following an acclaimed run at London's National Theatre in 2017, where it was the fastest-selling show in the theatre's history. Much of the original U.K. cast transfers with the production, including two-time Tony Award winner Nathan Lane, Oscar nominee Andrew Garfield, Denise Gough, James McArdle, Susan Brown and Nathan Stewart-Jarrett. New to the Broadway production are Emmy Award nominee Lee Pace and Tony nominee Beth Malone. Two-time Tony winner Marianne Elliott ("War Horse,", "The Curious Incident of the Dog in the Night-Time") directs.
Flat-out fabulous...with a top-flight cast...everybody in "Angels" pulses with that animating spirit....the cast members here make you feel the full force of such vitality. And when characters are this vividly drawn, spending hours in their company is no hardship. The play's second half still lacks the focus of its first part. But the characters remain so palpably there, in the writing and the performance, that attention never flags.
"Angels in America" remains as relevant as ever, in part because it wrestles with timeless questions of good and evil, faith and loyalty, and what connects us to one another. In fact, in its near-total realization of some of modern theater's greatest ambitions, it still towers over almost any stage event in its wake. "Angels" is, in its heart, a live theatrical experience. Elliott honors that, without being beholden to what was staged before. This renewed reminder that the world will spin forward also through these troubled times feels especially welcome.