By ADAM CROWE
A Seat on the Aisle
Ten years of producing a Shakespeare Festival is no small feat. Adding to that accomplishment by producing both parts of Tony Kushner’s Angels in America: A Gay Fantasia on National Themes is an act of tempting the very Fates themselves. Part One: Millennium Approaches, as seen on opening night at the Howard L. Schrott Center, proves the effort a worthy one and the grasp almost meeting the reach.
Indianapolis Bard Fest is celebrating the 25th Anniversary of Tony Kushner’s epic work by producing Parts One and Two in repertory. This column deals exclusively with Part One, which tells several stories over its three hours-plus run time.
Kushner weaves an amazing number of themes into this first work, crossing the experiences of being gay in America with religion, politics, family, and most directly, the AIDS epidemic of the 1980s.
Jay Hemphill (left, as Louis) and Miranda A. Nehrig (Harper Pitt). (Photo by Rob Slaven / IndyGhostLight.com)
The main characters confront homophobia in all its forms, including internalized. Their stories are quite specific, but Kushner spins them in ways that feel very familiar. The story of Pryor Walter and his partner Louis facing the horror of AIDS is told in tandem with that of Joe Pitt and his wife Harper, their relationship on the verge of destruction from Joe’s realization of his sexuality and Harper’s increasing withdrawal into a world of Valium-induced fantasy.
Oh, and there’s the angel’s appearance at the climax of the story.
If it sounds dense, it is. But the artistry of the writing and the performances make it engrossing. It is a play so unique in structure and style that a synopsis can never do it justice. Director Glenn Dobbs has assembled a brave and committed cast, tasked with both plays and (for most) multiple roles. They are uniformly strong. Jay Hemphill, Joe Wagner, Chris Saunders, Miranda A. Nehrig, Allen Sledge, Matt Anderson, Nan Macy, and Afton Shepard combine to make you think and laugh and feel for these ordinary people in extraordinary circumstances. These are all performances that will stay with you. Additional support is provided by “shadows” played by Lucy Fields, Eli Robinson, Jeff Goltz, Scott Fleshood, and Kelly Keller.
On Opening Night, several technical aspects were still works in progress. The sound was especially problematic at times, with microphoned actors suffering from occasional distortions. Scene changes and sound cues need tightened. Even so, the cast keeps the audience focused.
Matt Anderson (left, as Prior Walter) and Joe Wagner (Joe Pitt). (Photo by Rob Slaven / IndyGhostLight.com)
Bottom line: I could say that you should see this play because it is a rare production of an amazing and important piece of literature, and that is true. But to say only that would feel like a disservice to the production itself. Beyond a few quibbles here and there, Bard Fest has mounted a good production and it can stand on its own. Go see Part One, and I’ll bet you leave hungry for Part Two!
Bard Fest’s production of Tony Kushner’s Angels in America Part One: Millennium Approaches runs (in Repertory with Part Two) through June 25 at the Schrott Center for Performing Arts on the campus of Butler University, at 610 W. 46th St., Indianapolis. Tickets and further information can be found at IndyBardFest.com.
Read more great play reviews from A Seat on the Aisle at asota.wordpress.com.