There are seminal theatrical events that people will speak of for years after their flickering moment is extinguished: spending eight hours watching Nicholas Nickelby or Philip Glass' Einstein on the Beach, or surviving Wagner's Ring cycle. Phoenix can now lay claim to one of those moments with this weekend's consecutive performances of Tony Kushner's Angels in America: Millennium Approaches and Perestroika. Last year, when Matthew Wiener and Actors Theatre of Phoenix took a chance and mounted Part I, as most theatre companies do, the end result was an excellent production. After the show, though, everyone hoped they'd dare to do what most theatre companies do not. I'm here to tell you that I am exceptionally grateful to Mr. Weiner for giving me the chance to experience both parts of Angels. This is a moment that will stay with me forever.
Angels in America is an epic filled with poetry, pain and hope. It envelopes many political systems, many emotional connections and disruptions, and explores the unities and discords of religion. By seeing both shows, the audience becomes aware of the artistry of Kushner's craftsmanship. The arcs of the characters, lovely though abruptly truncated in the cliffhanger of Part I, become an orchestral movement of sheer conflicted beauty. Now that I've experienced both, it's hard to understand how anyone could only watch the first, even if it is the better-crafted piece. It sounds clichéd to say, but the six hours flew by: I hardly noticed their movement for the magic I was witnessing.
While the script is a dated masterpiece, a good chunk of the magic belongs to Mr. Wiener and the collection of talented actors, designers and crew. We are blessed to have such a group available to us. Mr. Wiener's pinpoint perfect blocking and pacing is the culmination of the hard work that everyone put into this labor of love.
With a full palate to draw upon, the admirable histrionics of last season's performances have given way to a more subdued, more intense gelling. Most notable in this element are Christopher M. Williams as the guilt-wracked Louis Ironson and Jon Gentry as the enigmatic Roy Cohn. Mr. Williams plays for torture, and does so exquisitely. If he is a bit inconsistent in presenting Louis' tentative homosexuality, he completely exists in the bile of Louis' self-degradation. The role of Roy was a watershed for Mr. Gentry, and he established himself as a 360-degree performer, humor and drama commingled. This time around, he draws a bit back, still as broad in presentation, but even more conscious of his character's desperate groping for a historical handhold.
Oliver Wadsworth is utterly in the moment, a container-full of energy, hysterics and longing. Prior Walter is the spiritual center of the show in many ways, and this role seems to be written for him. Unafraid, unabashed and unflinching, Mr. Wadsworth can bring tears to an audience's eye in one moment and belly laughs the next. Rusty Ferracane has also flattened Joseph's character arc to delicious effect. He excellently paces his desperation, and one can't help but feel sorry for him, even as he is driving any hope for sympathy from viewers with his conflicted actions. The same may be said of Natalie Messersmith. Where in the first part, her madness piqued early to enjoyable effect, here Ms. Messersmith's Hannah is more shaded, and even more of a heartbreak for it. Last season, I was drawn to her fractured character, but this season, she is more a member of the ensemble of discord, and that's probably a big part of the reason why I found myself crying at the end of the first piece this year where I was intellectually stimulated last year.
Given the chance to perform one character for a longer period of time, Cathy Dresbach is a treat. She brings a great curmudgeonly gruffness to Hannah Pitt, and a strong-willed vengeance to Ethel Rosenberg. Alvin Keith's artful portrayal of Belize is immensely endearing, while Lillie Richardson is excellent in all of the roles she assays.
Once again, the design elements are crisp and concise. Jeff Thomson's set is economical, wisely utilizing coastered furniture pieces and stylized flown flats in front of an alternately forbidding and fractured stone edifice. Paul A. Black's lighting balances between sharp and overly-saturated, dependent on the scenic requirements, while Susan Johnson Hood's costumes are perfectly appointed. David Temby's sound design is surgically prepared, while Alan Ruch's original music incorporated into the piece is seamless. Special consideration goes to Manuela Needhammer for her extensive work on hair and makeup, and Erica McKibben's extraordinary stage management, which allows the actors the chance to concentrate on their performances, and not on their backstage efforts.
I don't know what I'm more excited about: the fact that Mr. Wiener and his remarkable cast and crew have bettered last year's amazing production, or that most every seat was filled for the October 6th marathon. These groundbreaking scripts are not the type most people expect Phoenicians to support. Kudos are in order for Wiener and his ensemble in accomplishing this incredible theatrical event, and congratulations also goes to Phoenix for showing taste and sophistication. In the sacred name of the Thespiades, if you're still reading this, call for tickets. There is no excuse to miss this event, which has been extended by a week.
Production Details:
Angels In America Parts I and II
by Tony Kushner
Actors Theatre
of Phoenix
The Herberger Theater Stage West, Phoenix (For a
map to location, click this
link)
(602) 252-8497
September 26th - October 27th, 2002