The cliffhanger that concludes the first half of Tony Kushner’s epic Angels in America is designed to stun. It’s the moment when the angel — an earth-shattering vision or a violent fever dream, or both — crashes through Prior Walter’s bedroom ceiling to deliver a prophetic message.
However, in Court Theatre’s glorious yet frustratingly uneven production, the angel appears (following a momentum-killing blackout) dangling precariously above Walter’s bed. While actress Mary Beth Fisher delivers her lines with the requisite grand imperiousness, something’s missing. And then it hits me.
This angel doesn’t have wings. Read the full review on The Huffington Post >
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