Wow.
Riverwalk’s Angels in America is a powerful experience, opening more wounds than it heals … bouncing us back in history to a time where homosexuality was taboo and AIDS was a death sentence.
Sounds like fun, right?
Actually it IS “fun” in the sense that the acting is so good we are drawn into the personal dilemmas the characters face. There are some laughs and ironies as we compare the Reagan-era politics to those of today — and we are startled/entertained with several surreal “special effects” that I don’t want to give away.
One important thing to note is that all the shows start at 7 — not 8 (with the usual Sunday matinee at 2) due to the fact that this epic show runs two and a half hours — more, if you count the two intermissions.
Director Bob Robinson has assembled a fantastic cast and a set/lighting design that defines playing areas for smooth transition between locations, in and out of reality. Ric Sadler’s artistically twisted colors in his abstract painting above the bed mirror the struggles of the characters. He and Bob Gehrls are masterminds of the special effects.
I’m going to “cheat” a little here and share the beautifully written Facebook post from Riverwalk photographer Ariniko O’Meara. after she saw/photographed the dress rehearsal — because I totally agree with her and appreciate her explanation of the show.
Ariniko says:
Angels in America: Part One Millennium Approaches is a Pulitzer Prize, Tony Award, and Drama Desk Award winning play by America playwright Tony Kushner. It premiered in Broadway in 1993. Set in the mid-eighties, Angels in America dives headfirst into the many complicated issues of that timeframe: sexuality, drug use, politics, abandonment, religion, and most notably, the devastation of the AIDS epidemic on specific communities.
The play centers around two couples; one gay and one Mormon. Throughout the 2.5 hour play their stories become fractured, paralleled, and symbiotic; presented in beautifully timed scenes; separately and even woven together as one. The relationship between these couples, though loving and passionate, unravels through unique and surreal means.
Louis Ironside, played scrupulously by Heath Sartorius, becomes the hero and the villain, a central character whose journey through life’s toughest moments is the backbone of the play. His love interest, Prior Walter, presented through the charismatic and personable acting of Luka Pawsek, has AIDS and is dying. This revelation instantly veers Louis down a new and chaotic path and into the arms of a closeted co-worker—Joseph Pitt, a married Mormon.
Ben Cassidy portrays Joseph perfectly as a bashful, earnest, yet physically tormented man, who is being pulled into worlds foreign to him as a Mormon from Utah. The brilliantly believable Sally Hecksel as his wife Harper Pitt, intuitively knows her husband isn’t what he claims to be: in love with her, heterosexual, or happy. Harper brings into the play escapism creating cross-over scenes and out of mind experiences which allows Connor Kelly to confidently swoop in and bring peace and joy. Connor also portrays one of two Prior Walters as a ghost from the past tormenting the current Prior Walter. The other ghost is joyfully played by Doak Bloss as well as needed other characters.
The other outstanding cast members are Jordan Taylor as Belize, a nurse, ex-drag queen and very patient friend to both Louis and Prior. Joe Clark realistically embodied the very unlikable Roy Cohn, who is actually based on a real person. Mike Stewart plays Martin Heller another politician working with Roy Cohn to bring Joe Pitt to their side and help cover-up Joe’s nefarious activities.
Holly Kay-Cannon played both alive and dead characters as Joseph Pitt’s very religious mother and Ethel Rosenberg, the first American civilian to be executed for espionage. Allison Meyer helps out during the Utah scene playing Sister Ella Chapter who helps Hannah Porter Pitt sell her Utah home to move near her son after he admits his sexual orientation. Last but certainly not least, there’s the sweet angel Storm Hawthorn. You’ll know her when you see her.
Thanks, Ariniko, for being my inadvertent accomplice in this review!
Remember, shows start at 7 — reserve your tickets now at the NEW, EASY PICK-YOUR-SEAT ONLINE TICKETING at http://RiverwalkTheatre.com Or you can still call the office (517) 482-5700 if you have comp coupons and/or need/want help reserving seats; tickets also available at the door.
Riverwalk’s Angels in America is a powerful experience, opening more wounds than it heals … bouncing us back in history to a time where homosexuality was taboo and AIDS was a death sentence.
Sounds like fun, right?
Actually it IS “fun” in the sense that the acting is so good we are drawn into the personal dilemmas the characters face. There are some laughs and ironies as we compare the Reagan-era politics to those of today — and we are startled/entertained with several surreal “special effects” that I don’t want to give away.
One important thing to note is that all the shows start at 7 — not 8 (with the usual Sunday matinee at 2) due to the fact that this epic show runs two and a half hours — more, if you count the two intermissions.
Director Bob Robinson has assembled a fantastic cast and a set/lighting design that defines playing areas for smooth transition between locations, in and out of reality. Ric Sadler’s artistically twisted colors in his abstract painting above the bed mirror the struggles of the characters. He and Bob Gehrls are masterminds of the special effects.
I’m going to “cheat” a little here and share the beautifully written Facebook post from Riverwalk photographer Ariniko O’Meara. after she saw/photographed the dress rehearsal — because I totally agree with her and appreciate her explanation of the show.
Ariniko says:
Angels in America: Part One Millennium Approaches is a Pulitzer Prize, Tony Award, and Drama Desk Award winning play by America playwright Tony Kushner. It premiered in Broadway in 1993. Set in the mid-eighties, Angels in America dives headfirst into the many complicated issues of that timeframe: sexuality, drug use, politics, abandonment, religion, and most notably, the devastation of the AIDS epidemic on specific communities.
The play centers around two couples; one gay and one Mormon. Throughout the 2.5 hour play their stories become fractured, paralleled, and symbiotic; presented in beautifully timed scenes; separately and even woven together as one. The relationship between these couples, though loving and passionate, unravels through unique and surreal means.
Louis Ironside, played scrupulously by Heath Sartorius, becomes the hero and the villain, a central character whose journey through life’s toughest moments is the backbone of the play. His love interest, Prior Walter, presented through the charismatic and personable acting of Luka Pawsek, has AIDS and is dying. This revelation instantly veers Louis down a new and chaotic path and into the arms of a closeted co-worker—Joseph Pitt, a married Mormon.
Ben Cassidy portrays Joseph perfectly as a bashful, earnest, yet physically tormented man, who is being pulled into worlds foreign to him as a Mormon from Utah. The brilliantly believable Sally Hecksel as his wife Harper Pitt, intuitively knows her husband isn’t what he claims to be: in love with her, heterosexual, or happy. Harper brings into the play escapism creating cross-over scenes and out of mind experiences which allows Connor Kelly to confidently swoop in and bring peace and joy. Connor also portrays one of two Prior Walters as a ghost from the past tormenting the current Prior Walter. The other ghost is joyfully played by Doak Bloss as well as needed other characters.
The other outstanding cast members are Jordan Taylor as Belize, a nurse, ex-drag queen and very patient friend to both Louis and Prior. Joe Clark realistically embodied the very unlikable Roy Cohn, who is actually based on a real person. Mike Stewart plays Martin Heller another politician working with Roy Cohn to bring Joe Pitt to their side and help cover-up Joe’s nefarious activities.
Holly Kay-Cannon played both alive and dead characters as Joseph Pitt’s very religious mother and Ethel Rosenberg, the first American civilian to be executed for espionage. Allison Meyer helps out during the Utah scene playing Sister Ella Chapter who helps Hannah Porter Pitt sell her Utah home to move near her son after he admits his sexual orientation. Last but certainly not least, there’s the sweet angel Storm Hawthorn. You’ll know her when you see her.
Thanks, Ariniko, for being my inadvertent accomplice in this review!
Remember, shows start at 7 — reserve your tickets now at the NEW, EASY PICK-YOUR-SEAT ONLINE TICKETING at http://RiverwalkTheatre.com Or you can still call the office (517) 482-5700 if you have comp coupons and/or need/want help reserving seats; tickets also available at the door.
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