From the darkness of a plague constituting a tragedy of unfathomable proportions come(s) Angels in America.

There are many great films depicting these waves of colossal loss that came to flood society and leave many gay men drowned. Philadelphia (featuring that phenomenal Bruce Springsteen song, and that remarkable room-spinning scene), Dallas Buyers Club, and Holding the Man all come to mind, among many others produced and continuing to be produced. But Angels in America puts the spectator amidst the utter insanity that must have been experiencing AIDS in New York City in the 80’s in a way that no other portrayal of the epidemic does.

No other story entails a chaotic Angel breaking through the protagonist’s apartment roof, speaking in jumbled summons to him – apparently a prophet – to complete elaborate tasks, to which he protests (as any reasonable person would): “No. I’m not prepared for anything. I have lots to do”, then “Oh, shoo! You’re scaring the shit out of me. Get the fuck out of my room, please!” and later: “I want you to go away. I am tired to death of being done to, walked out on, infected, fucked over, and now tortured by some mixed up irresponsible angel, some… leave me alone!”

As is already evident, this is a script that deals with the sheer difficulties inherent in the struggle for coping and survival, whilst refusing to shy away from peaks of comedy that will put your body in aches and pains from roaring laughter. Indeed, such complexities comprise a key purpose of this spectacle, on top of others, as discussed by Tony Kushner, winner of the Pulitzer Prize for this very play and writer of the screen-adaptation, in this interview here.

In a different interview I saw at some point with Kushner, but that I can sadly now not find, he says that what he likes in creating such a diverse array of characters in his works is that a big part of unravelling the story involves creating those connections and undercurrents between them that in a realistic context most likely wouldn’t exist. In this play/mini-series, we have a closeted republican Mormon experiencing his first relationship with a man; his valium-addicted wife with her quirks and endless phobias; his widowed-mother with her unique philosophies and outlooks on life; Roy Cohn; a very pronounced self-righteously progressive idealist who abandons his infected boyfriend at his time of need; the boyfriend himself – the protagonist of this multi-faceted tale; and his best friend: a very savvy, competent, yet not overly overt African-American nurse seeing the world cascading around him. All this contributes tremendously to the compelling watchability.

There are all different angles from which this play/series can be perceived: whether it be political – Kushner himself mentions “the twin-plagues of Reaganism and the AIDS epidemic” when referring to the 80’s, as seen here; whether it be theological, as is easily justified given the centrality of angels, prophecies, and the distinguishing traits of Mormons tied into the central themes; or rather just outright existentialism, as seen in this wonderful scene (not pertaining to any great spoilers in my opinion) here.

This last section certainly alludes to a historical perspective. In the previously cited interview, Kushner says “Amnesia about the past is a disastrous mistake for a society. And in fact I think human society is impossible without a vibrant and dynamic relationship to the past.” There is a great string of scenes in the series wherein the protagonist is visited by the ghosts of two ancestors, one taken by the black plague via the water pump along with half the city of London; the other catching ‘the spotty monster’ as he calls, it via the fleas on rats. This glimpse of a greater historical perspective holds a flame up to the developments of HIV/AIDS since the 80’s, and ever-more present on the minds of the majority right now, the continuation of the COVID-19 pandemic, particularly due to the cruel twist of fate to be found in the one demographic of men comprising the most vulnerable group of these two otherwise divergent diseases.

I could go on and on about Angels in America, as I really adore it, but I’ve probably done so enough for now. If you share in this potentially endless appreciation with me, do write so below (anonymous comments are possible). And if you are yet to feast your eyes on this very plentiful story, I hope this post points you in the right direction. I will leave you with one last excerpt from the series/text but sign off here. Best regards and all the best.
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HANNAH: You had a vision.
PRIOR: A vision. Thank you, Maria Ouspenskaya. I’m not so far gone I can be assuaged by pity and lies.
HANNAH: I don’t have pity. It’s just not something I have. (Little pause) One hundred and seventy years ago, which is recent, an angel of God appeared to Joseph Smith in upstate New York, not far from here. People have visions.
PRIOR: But that’s preposterous, that’s…
HANNAH: It’s not polite to call other people’s beliefs preposterous. He had great need of understanding. Our Prophet. His desire made prayer. His prayer made an angel. The angel was real. I believe that.
PRIOR: I don’t. And I’m sorry but it’s repellent to me. So much of what you believe.
HANNAH: What do I believe?
PRIOR: I’m a homosexual. With AIDS. I can just imagine what you …
HANNAH: No you can’t. Imagine. The things in my head. You don’t make assumptions about me, mister; and I won’t make them about you.

(Played out in part at the start of this interview here).

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