The University of Adelaide Theatre Guild’s production of “Angels in America” is a monumental two-part play written by Tony Kushner.  The first part is titled “Millennium Approaches”, and the second part is “Perestroika”.  Set in the mid-1980s, amidst the AIDS crisis and political upheaval, the play intricately weaves together the lives of several characters as they grapple with their personal struggles and the larger social issues of the time.  

In “Millennium Approaches”, we are introduced to a diverse cast of characters, including Prior Walter, a gay man living with AIDS; Louis Ironson, Prior’s neurotic and guilt-ridden lover; Joe Pitt, a closeted Mormon Republican lawyer struggling with his sexuality; Harper Pitt, Joe’s Valium-addicted wife; Roy Cohn, a real-life figure and power-hungry attorney; and Belize, a compassionate nurse and former drag queen.  They are joined later in this first play by Hannah Pitt (Joe’s Mormon mother) and The Angel.  

“Perestroika” picks up where “Millenium Approaches” leaves off, delving deeper into the fantastical elements introduced in the first part.  Together, “Angels in America” offers a profound and complex portrait of American society at a pivotal moment in history, blending realism with fantastical elements to create a compelling narrative.

Director Hayley Horton has done an excellent job of designing and blocking both plays.  Her use of space, including the mezzanine for hallucinations and heaven scenes, was well thought out and executed.  Undoubtedly, her Assistant Director Tracey Walker was essential to ensuring Horton’s vision was realised on stage.  

Eight actors play at least two roles each requiring them to change accents and appearances and body language.  Occasionally they are also playing a different gender.  The entire cast – Kate Anolak, Lee Cook, Rachel Dalton, Brant Eustice, Matthew Houston, Casmira Lorien, Eric McDowell and Lindsay Prodea – deserve huge accolades.  The dedication each actor demonstrated – through rehearsals, mastering accents, understanding their characters, and committing lines to memory – is truly commendable.  Every single performer was fully invested in their roles.

Portraying Prior Walter in “Angels in America” is a demanding and multifaceted role that requires vulnerability and an emotional range – and Matthew Houston delivers that.  In his portrayal of Prior Walter, Matthew Houston delivered a captivating and authentic performance that left a lasting impression on the audience.  With a remarkable balance of strength and vulnerability, Houston embodied Prior’s resilience in the face of adversity, while also capturing his profound moments of fear, humour, and anger with raw emotion and sincerity.  Houston brought every facet of the character to life with depth and subtlety.

Casmira Lorien delivers a compelling performance bringing Harper Pitt’s inner world to life onstage, engaging the audience with her journey of self-discovery and transformation.  She showed us Harper’s gradual empowerment and self-discovery, as Harper began to assert herself and take control of her own destiny.  Lorien captured the character’s fragility, resilience, and inner turmoil with her expressive body language and genuine emotion.  

Joe Pitt’s inner turmoil was skilfully portrayed by Lindsay Prodea in a way that was both captivating and thought-provoking.  Whether grappling with his own sexuality or confronting the contradictions in his beliefs, Prodea brought a sense of authenticity and vulnerability to Joe’s character.  Through subtle yet powerful expressions and gestures, Lee Cook brought his character, Louis Ironson to life.  He masterfully conveyed the emotional complexity of Louis’s inner turmoil, allowing the audience to empathize with his struggles and conflicts.  His portrayal captured Louis’s journey with sensitivity, drawing us into the character’s internal world.

Brant Eustice’s portrayal of the villainous Cohn went beyond caricature; he revealed the character’s vulnerability and insecurity beneath his tough exterior.  Through nuanced acting, Eustice depicted Cohn’s moments of fear and desperation as he faced his illness, highlighting the complexity and humanity within the character despite his flaws.

Rachel Dalton exuded power and authority as The Angel through her movements and voice.  Eric McDowell showed us the strength, intelligence, and empathy of his character Belize.  Kate Anolak seamlessly transitioned through multiple characters, each with their own unique traits and accents.  Her versatility was remarkable as she embodied each character with authenticity and distinction.  Her portrayal of Hannah Pitt conveyed the resilience, strength, compassion, and grace of the character as she grappled with her own doubts and struggles.

And though Director Hayley Horton says “it could easily be staged on a blank stage with just the actors and Kushner’s words” it was so much more than that.  The costumes by Viktoria Burrett and her team were spot on, perfectly tailored to each character and situation.  They complemented the personalities and journeys of the characters.  A special mention must go to Shari Harkness for her work on the costume for The Angel.  The set design and props were highly effective, allowing for efficient scene changes and providing a canvas for the actors to shine.  

The sound design and operation by Phil Short was flawless.  The music and sounds seamlessly set the scene, melding with the action to enhance the overall experience without overshadowing it.  The lighting, designed by Mark Oakley and operated by Rowan Gedling, was outstanding.  The subtle haze added to the ambiance, beautifully setting the mood and time throughout both plays.

These epic two plays are brought to life by a dedicated team of actors, creatives, and production staff.  Director Hayley Horton’s vision, combined with the immense commitment from all involved, resulted in a production that left a lasting impression.  It is a theatrical achievement that deserves to be seen by many.

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