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Angels In America Part Ii: Perestroika
A wildly entertaining and emotionally riveting journey, Angels in America, Part II: Perestroika follows the interconnected lives of six New Yorkers grappling with life and death, love and sex, and heaven and hell at the height of the AIDS crisis in Ronald Reagan’s 1980s. Thirty-plus years after Kushner’s play took Broadway – and the American Theater -- by storm, today Angels in America gives audiences a sharp look thru the lens of hindsight to see how we got to where we are now, and how we move into the future.
Reviews for Angels In America Part Ii: Perestroika
Angels In America Part Ii: Perestroika
Provincetown Theater
In this new production of Perestroika, the actors reprising their roles from Millennium Approaches have honed their performances, all of them improved. (Which is saying something: they were all splendid last year.)
Angels In America Part Ii: Perestroika
Provincetown Theater
Joe MacDougall accomplishes the impossible by giving full humanity to Roy Cohn, who in real life seemed soulless. In a lesser actor’s hands the character would be little more than a hissing, snarling creature. But MacDougall creates a character so fully formed that Cohn’s hideous nature and evil core isn’t something supernatural, but rather chillingly human, which makes it part of the mortal world and all the more frightening.
Angels In America Part Ii: Perestroika
Provincetown Theater
Drake’s direction is a large part of why this performance had audience members in tears and inspired them to give a rousing standing ovation with more shouts of “bravo!” than I think I’ve ever heard. He brings magic, freshness, and discovery to a play that is, let us not forget, three and three-quarters hours long—time that passes quickly thanks to his sense of timing. (The audience is warned about the length, with Drake quipping, “And after that… we serve breakfast!)
In this new production of Perestroika, the actors reprising their roles from Millennium Approaches have honed their performances, all of them improved. (Which is saying something: they were all splendid last year.)
Joe MacDougall accomplishes the impossible by giving full humanity to Roy Cohn, who in real life seemed soulless. In a lesser actor’s hands the character would be little more than a hissing, snarling creature. But MacDougall creates a character so fully formed that Cohn’s hideous nature and evil core isn’t something supernatural, but rather chillingly human, which makes it part of the mortal world and all the more frightening.
Drake’s direction is a large part of why this performance had audience members in tears and inspired them to give a rousing standing ovation with more shouts of “bravo!” than I think I’ve ever heard. He brings magic, freshness, and discovery to a play that is, let us not forget, three and three-quarters hours long—time that passes quickly thanks to his sense of timing. (The audience is warned about the length, with Drake quipping, “And after that… we serve breakfast!)
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