Angels in America
By Tony Kushner
A Dramaturgs Statement
By Charles Page
We all chose to do theater for different reasons. Some like the entertainment. Others enjoy the art. What we have to ask ourselves is why we are here. I believe that, when tackling a show as important and integrated into our current social picture as “Angels in America”, we absolutely must be honest with ourselves about why we are working on it. This show has many very heavy subjects that, if not treated properly, have the ability to be offensive on the most basic level. In productions in the past, when actors or designers have not given proper respect to the issues that are brought on stage in this show, it is easily noticeable. This script seems to reward those who put all they have into it and punish those who have short foresight. So when we attack this script we must do it with the most honorable of intentions and the most diligent of work.
Homosexuality is a major theme of this show. Not only homosexuality but the homosexual subculture and how it fit into the mainstream culture of 1985. We have to remember that it had only been three years since AIDS had officially named. Much about the disease was unknown. Some still thought that it was a plague brought on by the “gays”. The non acceptance of the homosexual man was nothing new. However this disease was used as some as a social weapon to condemn homosexual men. New York City sought to close down gay establishments under the guise of decreasing the risk of spreading the AIDS virus. Anywhere that catered to homosexual men where sexual contact “may” occur was closed down, either by direct or indirect methods such as tax reviews, audits, etc. This type of anti-homosexual hysteria is epitomized in the character Roy Cohn. He is belligerent at the idea that he may have a “gay disease”. This dynamic of the surrounding worlds view on homosexuality is very important to the script. Not taking into consideration what it was to walk through a world that, not only did not understand your lifestyle, but also blamed you for bringing an incurable disease upon the earth would be folly.
The architecture of 1985 New York City is pretty much the same as it is today (with the exception of the Twin Towers). The places where the show takes place seem to have a slight patina on them. Middle class would be the way that I would describe them. New York had the fashion but it was still a business center in 1985. The show deteriorates as it progresses. Maybe the set could do the same? A static set has brought many bad reviews. This show is not about big government. It is about individuals, both small and large, and the struggle that they must face dealing with a society that tells them they are bad when all they really want is to be happy. I think that this can translate into the set.
Another theme is the acceptance of the homosexual underground by the main characters that are gay. We see Louis “putting on the face”. In other words he is putting on women’s makeup to make himself feel pretty. This embrace of the drag queen (although being a drag queen does not necessarily indicate homosexuality!) is very important. Visiting the “bath” is another instance where the homosexual subculture is visible in the play. The baths were places where men would shower and meet for sex. Many of these were shut down in 1984-1986 in New York City along with several “leather bars” and many places that just catered to the homosexual community.
We must not only look at the homosexual community in 1985 but also the world in general. Many of us are old enough to remember 1985 but it is so easy to forget. Stevie Wonder was hot. The world seemed to be singing about love, compassion, and helping your fellow man, as evidenced by the “Live Aid” concert for famine relief in Ethiopia. While many thought that you could contract AIDS by shaking hands with a gay man artists were crooning about love. A-ha released “Take on me”, Foreigner wanted to know what love is, and stars from all walks of life recorded “We Are The World”.
All in all taking into account the world that was in 1985 in New York City will help this production from beginning to end. We have an opportunity to address the issues that this show serves up with aplomb and power.
