ANGELS IN AMERICA Thoughts -- Actress Zoe Kazan

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

Photo by Joan Marcus

"It is a great honor to be part of the revival of Angels in America. I can't describe the energy in the room the first day of rehearsal, but it was remarkable to feel that every person there was equally excited about the undertaking and equally eager to get in and start rooting around--as the Angel says, "The Great Work begins." I was also struck by how personal the plays felt for almost everyone I talked to about them. So many of us have some story, some personal attachment, which cuts through the size of what the plays have become. The personal is in the universal, and visa versa: as much as Angels deals with huge themes, it is also (I think) fundamentally concerned with and rooted in the body in all its mess and sex and mutability and mortality--and what could be more personal than that? I think this is what keeps Angels completely rooted in the here and now, even as the "virus of time" has moved the events of the play away from the present tense. I was two years old in 1985, when Millennium Approaches begins, and was only seven when Angels was first produced in New York. I remember my parents coming home from the theater, telling me about it the next morning. I didn't know what AIDS was; I didn't even know the meaning of the word "gay." Three years later, one of my elementary school teachers had died from AIDS; a second one would pass a few years after. I don't remember the first time I read Angels, but I know the impact it had on me--my dog eared copy will attest to the many times I have returned to it. I always find something new. It is a blessing--more life--to have the opportunity to return to it again, in this new way, with these people, in this theater."

–Zoe Kazan

Zoe Kazan plays Harper Pitt in Signature Theatre Company's production of Angels in America

Angels is a hit! See what the critics had to say!

See what the critics had to say about the Signature Theatre Company production of Tony Kushner's Angels in America!


“Five Stars! Perfect Revival! The Signature Theatre Company has done it again. Although it seemed unlikely that they could match last year's Horton Foote trilogy The Orphans' Home Cycle, they've accomplished that with a dazzling revival of Angels in America. It's great to see Angels fly so high and so potently again. "The great work begins" is said by a couple of characters. It's happening now at the Signature.”
Joe Dziemianowicz, New York Daily News

“In seven hours, Angels can change your world!”
Scott Brown, New York Magazine

“The Angel has landed again, at long last, and all's right with the world. Amend that. All's deliriously right in a theater world where Tony Kushner's monumental, subversive, altogether remarkable masterwork, "Angels in America: A Gay Fantasia on National Themes," can be seen - in all its gargantuan seven-hour, two-part, big-brain glory - at the tiny Signature Theatre Company.”
Linda Winer, Newsday

“Glowingly acted! Bill Heck is superb as Joe. Robin Bartlett’s tough-minded, laconic Hannah is good enough to eclipse memories of Kathleen Chalfant and Meryl Streep in the same role. In Zoe Kazan’s sharply graded, passionately felt performance, [Harper] becomes the production’s nerve center. The received wisdom about Mr. Kushner is that he is a great playwright. This production reminds us that he is also a good one, which as far as satisfying nights at the theater are concerned, may be more important.”
Ben Brantley, New York Times

“The awe inspiring Angels stands the test of time! Kushner’s great work still has the power to shock, enlighten and delight.”
David Cote, Time Out New York

“Shimmers with newfound intimacy and unspeakable beauty!”
Melissa Rose Bernardo, Entertainment Weekly

“Christian Borle is instantly believable and never less than heartbreaking. Billy Porter is wonderful in every way.”
Marilyn Stasio, Variety

“Michael Greif's staging is fierce and exact. Mark Wendland's compact double-turntable set is a miraculously efficient piece of design, and Wendall K. Harrington's digital projections add immeasurably to the set's spatial richness.”
Terry Teachout, Wall Street Journal

“Frank Wood is a revelation as Roy Cohn, exhibiting a fierce intensity."
Frank Scheck, Hollywood Reporter

“Will absorb you utterly and make you think! The superb Zachary Quinto imbues Louis, the lover who abandons Prior in his illness, with a ferocious intelligence and a vivid sensuality. Robin Weigert underscores, with tenderness and wit, the sobering questions posed by Prior's condition, from the nature of mortality to the existence of God.”
Elysa Gardner, USA Today

“Signature Theatre Company offered the theatrical event of last season with its extraordinary production of Horton Foote's The Orphans' Home Cycle. The company may have pulled off that feat again, thanks to director Michael Greif's equally extraordinary production of Angels in America. This production makes it clear that Kushner's seven-hour, two-part epic belongs in the first rank of great American dramas, alongside such masterworks as "Our Town," "Death of a Salesman," "A Streetcar Named Desire," and "Long Day's Journey Into Night." What's more, it's proof that…the only way to experience the work's full impact is in its original home: the theater.”
Erik Haagensen, Backstage

ANGELS IN AMERICA Thoughts -- Actor Zachary Quinto

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

Photo by Joan Marcus

"...Angels in America.

brazen.
brave.
unapologetic.
vital.
fierce.
intelligent.
compassionate.
graceful.

Tony Kushner gave voice to a movement. a movement of human beings who were unwilling to let themselves - or each other - off the hook. who - in the face of tremendous adversity and horrific decimation - asked questions of courage and took action that elevated them - and all of us who came after them - to another experience of life. a deeper level of acceptance and understanding.

humanity is honored by these plays. he has both captured and created a momentum in these works that is unmistakable and timelessly provocative. he manages to weave the quiet grace of an intimate moment into the terrific power of celestial movement. technically and creatively the plays demand profound momentum and stamina. it is nothing short of an epic journey.

and now here we are - twenty years after the creation of these plays - bringing them back to the city where it all began. in a world more advanced - but no less fractured - we once again turn to ourselves and to each other with the same questions. maybe now they are framed in a different context. but at their core they ask us to - "look up, look up, prepare the way..." because i believe there are forces much larger than all of us at work in these plays. intangible forces that are occasionally harnessed at times of great need. Tony wrote these plays at such a time. he has taken that need and given it inspired and graceful language. and i am deeply humbled to be a part of this ensemble - bringing his language to life at this specific moment.

surrender..."

–Zachary Quinto

Zachary Quinto plays Louis Ironson in Signature Theatre Company's production of Angels in America

ANGELS IN AMERICA Thoughts -- Director Michael Greif

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

Angels in America at 20 Years: Michael Greif from Signature Theatre Company on Vimeo.

Michael Greif is the director of the Signature Theatre Company production of Angels in America

Video: Zachary Quinto Tells Gay Youth "It Gets Better"

Zachary Quinto, who plays Louis Ironson in the Signature production of Angels in America, reaches out to struggling gay youth with an "It Gets Better" video.

For futher information and more "It Gets Better" videos please visit http://www.youtube.com/user/itgetsbetterproject.

ANGELS IN AMERICA Thoughts -- Professor Claire Gleitman

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

"My first encounter with Angels in America occurred when I happened to come across it in 1992 in American Theatre magazine—to which I subscribed at the time (still do!), but which I didn't read religiously. I can't remember now what it was about Kushner's script that caught my eye, but I read it from cover to cover the day it appeared in my mailbox. Back then, I was a young assistant professor, teaching dramatic literature in the English department at Ithaca College, in Ithaca, New York. Once I read Kushner's beautiful, searing, ferociously angry and deeply compassionate play, I determined that I had to share this piece of theatre with my students. So I contacted the magazine (the play at that point was unpublished anywhere else) and ordered copies for my two classes--utterly unaware, at that moment, of the groundswell of excitement that was starting to gather around Kushner and rather proud of what I thought was my unique and very impressive discovery of an unknown playwright.

In the weeks and months that followed, I came to realize that I was not the only person to have discovered Tony Kushner. Indeed, I learned about the intense buzz that was swirling around Kushner and his play’s impending opening—to the point where an article in the New York Times Magazine described Angels' fortunes as "as a bellwether for the future of innovative drama on Broadway." (How’s that for heavy expectations to place upon a young, unknown author’s shoulders?) As Angels made its way toward Broadway surrounded by palpitating anticipation and (in some corners) ugly homophobia, my students and I did our quiet work in the classroom—reading the play with care and attentiveness and finding ourselves overcome by its richness, its beauty, and the complexity of its conversation with a tradition of American literature stretching from Ralph Waldo Emerson to Tennessee Williams. Kushner, it seemed clear to us, was hurling himself into a dialogue about what "America" means that began with the Puritans and that continues to the present day—and, quite strikingly, he was putting marginalized Americans (gay, female, Jewish, Jack Mormon, ill) at the center of that conversation.

It didn't take us long to decide that we simply had to see the play performed, and so I arranged to get us tickets to what should have been the first week of performances in the original Broadway run, but which turned out to be the end of previews, because the opening was postponed. (My memory is hazy here, but I think they had some technical difficulties involving the advent of the Angel...) My students and I spent an entire semester anticipating the day when we would board a rented college bus together and travel down to New York City to see the play that had turned out to define and shape our entire semester. We all got up very early that morning and boarded our bus in Ithaca, full of irrepressible excitement: we knew that our creaky little van was going to take us on a trip that would culminate with the greatest theatrical experience of our lives. We got as far as Owego, New York--where our bus broke down.

I'll never forget sitting on a curb in front of the Dunkin Donuts in Owego, New York, with 40 disconsolate and absolutely silent undergraduates, thinking: "The event which we all have anticipated for four months is not going to happen. We are going to return to Ithaca with nothing but stale donuts." Miraculously, really--or so it seemed at the time--our van got fixed, by a dashingly good-looking auto mechanic whose name I never learned but who remains my hero to this day. We dashed down the turnpike at breakneck speed; our driver (my self-sacrificing husband, another hero in this story) deposited us in front of the theatre at 2 minutes before curtain time, and we raced to our seats, arriving just at the very instant that the house lights went down.

The anticipation, needless to say, was nothing compared to the play itself. For me and for my students, seeing Angels in America was indeed and unquestionably the theatrical experience of our lives. What is remarkable about Kushner's play, however, is that reading it, too, is the theatrical experience of one's life—and that isn’t true of very many contemporary plays. Angels in America is a play that reads almost as beautifully on the page as it does on the stage. I have taught Angels virtually every year since I first discovered it in American Theatre magazine--and I hear back regularly from my former students, via email or Facebook, who report that reading Angels changed their lives, awakening them to sides of themselves that hadn’t been evident before. Angels is without doubt a play that changes people: it moves them, it politicizes them, it wakes them up, and (if they happen to be American, as most of my students are) it deepens and complicates their understanding of the nation in which they live. This is as true today as it was in those long-ago, pre-9/11 days; the play, amazingly enough, hasn’t dated, despite its keen connection to the historical moment that it dramatizes.

I am excited beyond words to see the revival of Angels in America. More than that, I’m excited to continue to teach this play, with which I first fell in love in 1992. I expect to go on teaching it—with pleasure, admiration and wonder—for the rest of my professional life as a teacher of dramatic literature."

–Claire Gleitman

Claire Gleitman is a professor and the English Department Chair at Ithaca College

ANGELS IN AMERICA Thoughts -- Actor Christian Borle

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

Photo by Joan Marcus

"When asked to share my thoughts on Angels in America, one of the most iconic, acclaimed and… dare I say it… heralded pieces of writing of the last 50 years, I found courage in the words of Tony Kushner himself. Though, I think, not in the way you’d expect.

In one of an ongoing parade of 'pinch me' moments, I was given Tony’s email address after hearing the news that I had been cast as Prior. I wanted to say thanks, how excited I was. He replied, and in his sign-off he wrote… Tony Kushner wrote… 'back atcha.'

'Atcha.'

Something clicked for me when I read that. He’s a human being. Who wrote a play (or two). It’s easy to imagine that the series of words he strung together over a decade ago came to him in some sort of fever dream, channeled or bestowed. How momentous, how inspiring to discover that it’s so much more… accessible than that.

We get to have Tony in the room sometimes. He ARRIVES with new pages (Pinch Me Moments #34-52), hot off the inkjet. These are mostly tweaks to Part Two, him refining, still finding, clarifying. We sit at a table and watch him watch us as we speak this new assemblage of words, stutters, italics, dashes and ellipses. When it’s his turn to speak… to illuminate… he’s profound, intellectually intimidating, learned, funny, basically everything you’d hope for. But still, he’s just a person.

We’re five weeks into rehearsal now, and the room is full of people, just trying to figure it all out. It’s acting, writing, directing, designing, scheduling, maneuvering, lunching, caffeinating, crunching lines, going home at the end of the day. Human stuff.

What seemed, before the whole thing started, insurmountable and daunting is now what the most pretentious among us (read: me) call “the work.” And I hope that you all, uni-genitalled, male, female, or somewhere in between… you who come to see the play that will be barreling atcha… Well, I hope you like it. I hope you don’t notice the work that went into it. I hope you see something timeless in this story of humanity, by humans, for humans.

Because we are not going away."

–Christian Borle

Christian Borle plays Prior Walter in the Signature Theatre Company production of Angels in America

ANGELS IN AMERICA Thoughts -- Book Editor Jonathan Evans

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

"I first encountered Angels in America during the fall semester of my senior year at Ithaca College, when it was suggested by my Drama Lit professor that I read the play ahead of the class assignment; she thought it would make a good project for me to direct as a workshop production (which was our glorified way of saying “staged reading with props”). I went home and consumed the entire seven-hour, three-hundred-page leviathan in one sitting. For as long as I live I will never forget that afternoon: laughing with Belize and Louis, weeping for Prior and Harper, gasping at Roy and Joe, and marveling and the jaw-dropping audacity of the thing: to write a socialist-American history of the age of AIDS and Reagan through the eyes of the marginalized and the dying, and to do so in a way that is both utterly harrowing and wildly entertaining, that is both high- and low-brow, that is both empathetic and empowering, is one of the most fabulous declarations of “I am” I have ever encountered. And yet when I think back to that afternoon/evening, it is with a fair amount of sorrow. The first reason for this was that I remember feeling, not even ten minutes after finishing the play, that I would never be again feel the exhilaration of reading it for the first time. I sat on my sofa for several minutes almost in a state of paralysis (full disclosure: I may have had a few drinks while reading the play), then dragged myself to bed, eager to find my professor the next day and tell her how much I was looking forward to staging a reading. I climbed into bed and checked the alarm on my cell phone, the screen of which revealed what I would only know twenty-four hours later to be the second reason for looking back in sorrow:

“11:35 PM MONDAY, SEPTEMBER 10, 2001”

It wasn’t until much later that I was able to think back with even a sliver of clarity on the days and weeks that followed. I was in shock. We all were. It was like we were asleep to the world around us and were only awoken by the pain of our own hearts breaking. I wasn’t naïve to the negative consequences of America’s role as lone global superpower, and I believe to describe the pre-9/11 world as “more innocent” would require one to cover himself in a thick shroud of ignorance. However, to this day I find myself thinking over and over, “If I knew then what I know now.” But there was no way of knowing. You could have read the entire works of Noam Chomsky (which I pretty much had) and still not had any idea of what direction the world would head in. When those planes hit their targets, they blew a giant hole in history itself, out of which spewed pure uncertainty. (People make a habit of looking back to the days after 9/11 and wistfully noting that Bush had the world’s sympathy and affection, and squandered it. I guess this testifies to the ubiquity of uncertainty, the idea that reasonably intelligent people thought Bush would actually do the right thing.) The old paradigms would no longer hold. A membrane had broken. All around us was the rubble of the past, and as the world kept spinning uncontrollably into the future, I was straining to understand the present.

To make matters worse, 9/11 was the day I lost my faith in images. The myriad ways in which images were being manipulated to whip us into some kind of jingoistic nationalist froth convinced me that images were not to be trusted, as they were almost inherently prone to lie (this is quite a devastating revelation for a film student). As a result of this, while my friends and classmates were reaching for their cameras to make sense of it all, I had no textuality with which to, if not comprehend, than at least recognize what Aeschylus called “the awful grace of God.” I had no vocabulary with which to interpret the tensions that seemed to be ripping apart the fabric of Western civilization. I had no language with which to express (in a way that didn’t make me sound like a militant) that the thing I feared most was my own nation and the torrent of hatred it was likely to unleash on the world. It felt like this was the moment when the xenophobic, apocalyptic undertones of the American right-wing would come raging to the surface and usher in the end of days. Everything swirling around us at that point was patently, maliciously Manichean, and while such absolutes comforted some, they terrified me: reducing the geopolitical rabbit hole to a two-sided prism of good-versus-evil was utter insanity. Like everyone, I felt terribly afraid and utterly alone; nothing I knew well enough to draw upon for strength could address the overwhelming feeling of abandonment that hung over me, the anger I felt toward those asked that ridiculous question, “Why do they hate us?”, or the guilt I felt at so selfishly wanting some kind of resolution visited upon me for having undertaken the debilitating task of simply living through the day. Emotional crutches felt hollow and simplistic; intellectual confrontation with history left me feeling like an idiot for being an innate optimist. I looked up at the brilliant blue sky that day and felt that gone was the time when angels fell to wreak havoc on the world; now it was only airplanes and ballistic missiles. I saw an empty heaven, and I had no way of confronting that.

So there we all were, violently jerked into a new world with no time to truly comprehend what had been lost and no real plan for how to deal with our initiation into the murderous reality we had managed to elude for so long. I went home some time later that day, and still sitting on my living room sofa was my copy of Angels. I picked it up and started rereading different parts. The scene that stopped me cold was a conversation between Harper and the Mormon mother. Harper asks, “In your experience of the world, how do people change?” Rereading this scene, I began to understand that, as is necessary when the world changes, we were on our own to do the stitching and then get up and walk around. We were just mangled guts pretending. The idea that a positivist change could only come as the result of unbearable agony resonated; at the time, surviving the horror of 9/11 required enduring unimaginable suffering. In the weeks that followed I poured over the play again and again. It became for me a framing mechanism with which I was able to comprehend that moment of history. And like the most thrilling works of art, it gave color and shape to what had been, for me, abstract notions of tragedy, fidelity, justice, compassion, wisdom, and love. It simultaneously expanded and honed my comprehension of the devastation wrought by the gale-force winds of progress (as Walter Benjamin put it), and helped train my ears to the birth cry (which all too often comes in the form of a dying scream) of new life at its term (hat tip: Seamus Heaney). It cannot possibly be understated how important Kushner’s words became to me:

—“Before the world becomes finally merely uninhabitable, it will for a long time before have become completely unbearable.”

—“It isn't easy, it doesn't count if it's easy, it's the hardest thing. Forgiveness. Which is maybe where love and justice finally meet. Peace, at least.”

—“I hate America. I hate this country. It’s just big ideas and stories and people dying and people like you. The white cracker who wrote the national anthem knew what he was doing. He set the word 'free' to a note so high nobody can reach it. That was deliberate. Nothing on earth sounds less like freedom to me. You come to room 1013 over at the hospital, I'll show you America. Terminal, crazy and mean.”

—“Maybe I am a prophet. Not just me, all of us who are dying now. Maybe we've caught the virus of prophecy. Be still, toil no more. Maybe the world has driven God from heaven and incurred the angel's wrath. I believe I've seen the end of things, and having seen I'm going blind as prophets do; it makes a certain sense to me. And if I hate heaven, my only resistance is to run.”

—“You are a battered heart bleeding life into the universe of wounds.”

—“In this world there is a kind of painful progress: longing for what we’ve left behind, and dreaming ahead.”

And, of course:

—"I've lived through such terrible times and there are people who live through much worse. But you see them living anyway. When they're more spirit than body, more sores than skin, when they're burned and in agony, when flies lay eggs in the corners of the eyes of their children—they live. Death usually has to take life away. I don't know if that's just the animal. I don't know if it's not braver to die, but I recognize the habit; the addiction to being alive. We live past hope. If I can find hope anywhere, that's it, that's the best I can do. It's so much not enough. It's so inadequate. But still bless me anyway. I want more life."

The enduring legacy of Angels in America in my life is the manner in which it instilled in me—through its magnanimity of intelligence and spirit, and abundance of outrage and empathy—the notion that it is a moral and ethical obligation to not abandon the struggle for justice, even though the struggle very often seems impossible; that it is imperative we stare into the deepest black until we find that needlepoint glimmer of light; that it is not impossible or irresponsible to imagine that there is a place where love and justice finally meet; that it is necessary to live past hope. (Had I been given a more Judaic upbringing, I’m sure this would have occurred to me sooner; as it was, I had such a sheltered WASPish upbringing that I got all the way to college before I learned that Hebrew and Yiddish are two different languages; not a proud moment for me.) In the decade since I first read the play, we have come through such terrible times, and it looks like we will have to endure further madness—just turn on the television and let the images tell you all about the decline and fall of the Republic—but I believe that true progress has been made, progress that doesn’t seem to move the needle when cast against the backdrop of the 24-hour American freak show, but is nonetheless real. Six years after homophobic legislation was used as a state-by-state wedge issue to swing an election, I am truly confident that my generation will be the last one to see laws passed banning gay marriage. Two disastrous military campaigns have turned public opinion against neo-conservative warmongering in ways that I thought only reinstating the draft could. The economic meltdown has galvanized opposition to economic inequality in ways that seemed unimaginable at any other time in the last thirty years. And even amid race relations that are still tense and combustible, no one can dispute that the color of the president’s skin is an irrefutable sign of progress. I am certain that, were it not for Angels in America, I would not be able to see this progress as anything other than blips along the way to inexorable decline. It wouldn’t have been too terribly hard to fathom a decade ago. But every once in a while, when we find ourselves at the utter midnight of hopelessness, a voice rises from the darkness and leads us to a place of knowing. A voice that reverberates through you so profoundly that you feel altered on an almost biological level, as if your heart will never beat the same way again. A voice so powerful and overwhelming that I can only think of it as the voice of God. Sometimes this voice comes from a person or group of people. Sometimes it comes from a work of art. Angels in America is one of those voices. It spoke, I listened, and nothing has ever been the same.

Very Steven Spielberg."

–Jonathan Evans

Jonathan Evans is a Senior Production Editor at Simon & Schuster

ANGELS IN AMERICA Thoughts -- Playwright Sarah Ruhl

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

"I remember vividly the first time I saw Angels in America in a church in Chicago for the first time. The way the angel exploded language on a simple ladder. Thank God Tony Kushner writes for the American theater, making us believe again (in the age of instant gratification) in seriousness, endurance, political engagement, and language."

–Sarah Ruhl

Sarah Ruhl is a playwright whose plays include In the Next Room (or the vibrator play) and The Clean House

ANGELS IN AMERICA Thoughts -- Actress Ellen McLaughlin

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

Angels In America at 20 Years: Ellen McLaughlin from Signature Theatre Company on Vimeo.

Ellen McLaughlin played The Angel in the San Francisco, Los Angeles and Broadway productions of Angels in America

ANGELS IN AMERICA Thoughts -- Playwright Tony Kushner

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

Angels In America at 20 Years: Tony Kushner from Signature Theatre Company on Vimeo.

Tony Kushner is the Pulitzer Prize and Tony Award-winning playwright of Angels in America

ANGELS IN AMERICA Thoughts -- Graduate Student Harris

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

"I became infected with Angels in America.

'My heart is pumping polluted blood. I feel dirty.'

Like an addict looking for a fix, i devoured Tony Kushner's words, underlining them, researching their symbolism, deriving meaning... feeding my soul.

'Dance with me.'

I first came across Angels in 2004... I was in a very different place in life... a lot more naive. It seems that seeds were planted then, and when i decided to read the play this year... I was hooked. BAD.

'Thaddeus, real love isn't ever ambivalent.'

Now, as a poz gay men in his late twenties, I was able to relate to Prior much more. My Atripla induced dreams became drenched with beautiful visions of the angels, mythological fantasies... themes that seeped into my subconsciousness... I LOVED IT.

When i saw that Signature Theater is putting on Angels in America, and that Milton Glaser designed the poster again, I smiled. I can't wait to be in the presence of such divine literature."

–Harris

Harris is a "29-yr-old-refugee-gay-HIV positive-recent-transplant to NYC"

ANGELS IN AMERICA Thoughts -- Actor Frank Wood

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

Photo by Gregory Costanzo

"I remember reading Angels in America in American Theater Magazine. I was living in one of four apartments I ended up subletting in my first year back in New York after a two year stint in Malvern, Pa. at People's Light and Theater Company. I was lonely and unsure of myself, certainly of my future. I had chosen this place (sort of). Why? And this career. Why? In my little apartment that had roaches coming out of the telephone (my fault as much as the building's) and access to every drunken conversation that passed by my basement window (magnified by the air conditioner vent) I felt overwhelmed by the city, my unemployment and the idea of being an actor. I read Angels in America as a duty almost, and then before I knew it, it had taken me out of my New York apartment and put me in all these others. It put me back in New York in the middle of a crisis that was going on outside my window but that I never touched. It read like Oscar Wilde and George Bernard Shaw and Caryl Churchill. It made me proud to be an actor and proud to think that the most important work anyone I knew could think of that dealt with today's politics and culture and represented America most truthfully was a play. I had landed back in New York when my profession and the only corner of it that I had practiced in, theater, was at the center of American life.

So. Now. To be in this play is to revisit not only the mid eighties but also the early nineties and a time in my life when I got a second wind. When I started to notice what was going on and what mattered. It is perhaps the only play that came into being during my adulthood that is now being performed, while I am still...almost... in my prime, as one of the Greats.

For my time, it is the great play.

And now I take a breath and bring my thoughts down a notch and think about Roy Cohn and a Bronx accent and... hope for some revelation."

–Frank Wood

Frank Wood is playing Roy Cohn in the Signature Theatre Company production of Angels in America

ANGELS IN AMERICA Thoughts -- Press Agent Chris Boneau

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

"The iconic photo of the Angel appearing for the first time in Prior’s bedroom was taken by Joan Marcus on a Saturday morning just as previews were beginning. Tensions were high and we literally had 90 minutes to take way too many photos. The LAST photo of the morning was the Angel shot. The stage crew literally propped Ellen McLaughlin up from behind on top of the headboard of the bed (because we didn’t have time to rig her and fly her in). We and Joan had five minutes. We were manic. Would we get the shot? Would we run out of time? Would Ellen be able to stand up on the bed with the weight of the wings? Today, when you think of Angels in America, one specific photograph comes to mind: The incredibly gorgeous, beautifully theatrical and now iconic photo that represents the show. And it was taken in five minutes."
–Chris Boneau, Press Representative

Chris Boneau, of Boneau/Bryan-Brown, was the press agent on the Broadway production of Angels in America

ANGELS IN AMERICA Thoughts -- Student Alexander Cavaluzzo

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.



"I first read Angels in America in 2005 when I was sixteen. At the time, I was a junior at a Catholic high school that has amongst its notable alumni the incendiary Fox News correspondent Bill O'Reilly. Obviously, as a queer Marxist, I was not in my element. Day in and day out I was immersed in reactionary, fundamentalist thought that I highly opposed. One day, in Barnes and Noble, I was in search for something that would counter the drivel I was hearing at school; I was familiar with Tony Kushner's work only through commercials for the 2003 mini-series, but I was aware it was a play that dealt with, among many other things, queer issues.

When I bought the last copy in the store, I read it in about a day. Words cannot describe the joy I felt. I cannot count how many times I've read and re-read the play, nor how many times I've watched and re-watched the mini-series. I've read extensive criticism of the play, purchased two playbills from the original Broadway production, watched a recording of the Broadway production of Millennium Approaches & Perestroika at the Lincoln Center Library, and, last year I got Milton Glaser's logo for the play tattooed on my right wrist (photo above).

I've have been desperately waiting my chance to see a live production of this fabulous piece of epic drama, and thanks to the Signature Theatre Company, I'll have that chance this fall."
-Alexander Cavaluzzo

Alexander Cavaluzzo is a 21-year old student and writing tutor

ANGELS IN AMERICA Thoughts -- Playwright Christopher Shinn

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

"I saw Angels in America on Broadway when I was 17. In the scene where Louis and Belize debate race and democracy, something very profound happened to me. I felt alive in a way I had never felt alive in a theatre before. I think I got so excited because I saw that you could both talk about the world in a play as well as use characters’ talking about the world to reveal their individual psychologies. Every play I’ve written has had my version of that scene in it."
-Christopher Shinn

Christopher Shinn is the writer of such plays as Four, Dying City and Where Do We Live

ANGELS IN AMERICA Thoughts -- Graduate Student Elsa Sjunneson

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

"My father died of AIDS in 1993.

Exploring theater responding to the AIDS epidemic has always been an emotional and sometimes challenging experience, and while I had read the play when I was fifteen, and seen the movie once when it came out, I'd had little experience with the stage play until I auditioned for it in my junior year of college. When I auditioned it was for the role of Harper - as I was a woman I assumed this was the only role I would be cast in. (The Angel never even occurred to me. That much stage presence just isn't in my personality)

When no men at my conservative Catholic university came to audition, I ended up cast in the role of Prior Walker. The director told me she cast me in that role because of my relentless empathy for the character. I felt - in reading for Prior - that I was giving life to my Father's voice one last time.

With sadness, I tell you that the production was never performed. The school's conservatism won over, and not only would no men audition because they were afraid of being perceived as gay, but because of the pro-homosexual themes, the school wouldn't allow it at all.

What I can say is that through performing that play, I was able to find some peace. Bit by bit I come to terms with the disease that killed my father, and piece by piece I make his memory firm in my mind - not in sadness, but as a remembrance of happiness."
-Elsa E. Sjunneson

Elsa E. Sjunneson is a 24 year-old graduate student.

ANGELS IN AMERICA Thoughts -- Designer Wendall Harrington

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

"In the early 80's, I started to lose people to something called "the gay cancer." Mostly there was silence, punctuated by funerals for young formerly vibrant men. No one knew - if they did they weren't talking. In 1986 (in need of a real job) I went to work for a major men's magazine. At many an editorial meeting I'd ask, as we prided ourselves on investigative journalism, ‘where was this story.’ I was told, 'gays did not read this magazine', and ‘it’s not a story for us.’ When Randy Shilts published And the Band Played On, I couldn't get it reviewed in the men’s magazine. I could not get Silence = Death and Act Up into the magazine. More men were dying, and now some of them very dear. Everyone was afraid. Eventually the men's magazine and I had a parting of the ways - it was about 1988. The last thing I did was edit a piece by Randy Shilts that got into the men’s magazine and then into Best American Essays of that year. Still there was more silence than action.

Some time later, I think it was John Conklin who gave me the script to read after he designed it on the west coast. He praised it, and Conklin praises few of this century's writers. Reading it, my ceiling cracked and an angel came in to touch me. I was opened. To this day, I can’t entirely say what it is about, but it is not silent, it is not cracking wise about Rock Hudson; it takes something serious seriously and I am grateful.

It made a stir, it made people confront, it broke the silence. I am forever indebted.

To have the chance to participate in this production is a great gift (no matter what my agent says). I owe this play something - it confuses, confounds, and makes me rich, for I do not believe in silence, I believe in thrashing one’s way forward into illumination, and this play lets me feel not alone."

-Wendall Harrington

Wendall Harrington is the projection designer for Signature Theatre Company's production of Angels in America

ANGELS IN AMERICA Thoughts -- Student Blake Pruitt

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

"I received a copy of the Angels in America play from a friend a few months ago as a 17th birthday gift. I'd heard her rave about, I'd heard about Tony Kushner, and I'd heard about the HBO special. What I hadn't heard about was how much of an impact the words Tony Kushner wrote would have on me. I never thought I would be able to feel, and cry, just from reading a play as much as I did while reading Angels in America. I'm so glad that my first experience with the play was reading it, which was of course followed by watching the HBO movie with the same friend. Both of us will be seeing the Signature Theatre production in January."
-Blake Pruitt

Blake Pruitt is a 17 year-old high school student.

ANGELS IN AMERICA Thoughts -- Director Leigh Silverman

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

"In 1993 I was in college, and seeing Angels made me, and scores of theater students like me, believe in the vitality, the urgency, and the possibilities of theater. Angels existed on Broadway with such brazen theatricality and gayness and guts, it seemed like the most thrilling night of theater imaginable. It was a rally and a revelation. Oh, but now, all these years later, what really gets me excited is the structure! Oh the mechanics! Now I can see the bones, the way the writing teases and delights, all the while holding tight around your throat. Angels has become an icon, and the standard against which plays are measured."
-Director Leigh Silverman

Leigh Silverman is a director whose credits include Well on Broadway and Coraline at MCC.

ANGELS IN AMERICA Thoughts -- Actor Billy Porter

We continue our series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Click here and continue checking back for more words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

1982.

Pittsburgh, Pennsylvania.

I sit down to dinner with my family, as I always do just in time for the six o’clock news. I’m twelve years old and usually completely uninterested in anything the newscaster has to say. This day is different. This day feels complicated. Insistent. Serene. Terrifying.

The sun is setting after a long day of summer rain hashing it out with the Ms. Humidity. The result; a gray high sky filled with clouds that resemble patches of cotton candy with mauve shafts of light seeping through to earth below.

“There’s a new deadly disease that seems to be afflicting homosexual men mainly in New York City and San Francisco,” the newscaster reported. “No one knows what’s causing the outbreak or why the syndrome seems to be targeting homosexual men…” Homosexual? I had never heard the term before, but some how I knew exactly what it meant and that I was going to…

Oh, God! What have I…? Cold sweat.

I excused myself from the table and retreated to my closet.

Literal. Metaphoric.

For you see, my bedroom closet was the place of solace for me.

My closet was a sanctuary where I could try on my Aunt Sharon’s high-heels without being judged. Or experiment with the neighborhood boys curious about the touch. Or refine my solo for Sunday morning service.

My Closet. My Secret. My Shame.

And now my hiding place was in jeopardy of being exposed. Obliterated. I was a homosexual and I was going to die!

I continued for the next decade living in faggot-limbo. Never being “butch” enough to actually “hide” in any structured “closet,” in plain sight, and way too afraid and confused to stand inside my own terrifying yet glaringly transparent truth.

And then I wandered into a preview performance of Angels In America: Millennium Approaches at The Walter Kerr theatre in 1993. From the moment the curtain rose, I was in utter shock. Disbelief. Speechless. Breathless. FINALLY, someone had distilled into three-and-a-half hours of exquisite art what I had been trying to express all my life.

Harper:
When you pray, what do you pray for?

Joe:
I pray for God to crush me, break me up into little pieces and start all over again.

Harper:
Oh. Please. Don’t pray for that.

Joe:
I had a book of Bible stories when I was a kid. There was a picture I’d look at twenty times every day: Jacob wrestles with the angel. I don’t really remember the story, or why the wrestling – just the picture. Jacob is young and very strong. The angel is… a beautiful man, with golden hair and wings, of course. I still dream about it. Many nights. I’m… It’s me. In that struggle. Fierce, and unfair. The angel is not human, and it holds nothing back, so how could anyone human win, what kind of a fight is that? It’s not just. Losing means your soul thrown down in the dust, your heart torn out from God’s. But you can’t not lose.

As the tears gushed from my eyes like an illegally unplugged fire hydrant, I felt the weight of a thousand Sunday’s lifting off my shoulders. This piece gave me language, encompassed my pain and spoke my truth to the world when I could not. I’m a better artist, a better HUMAN BEING. I’m proud to be Black, Gay and Christian in America. I’m braver than I ever thought I could be. Thank you Mr. Kushner – you saved my life!

Billy Porter plays Belize in Signature Theatre Company's production of Angels in America

ANGELS IN AMERICA Thoughts -- Playwright Romulus Linney

This is the first in a series of posts featuring people's thoughts on the power and impact of Tony Kushner’s Angels in America. Continue checking back for words from Broadway cast members, our current cast and creative team, more of Signature’s past Playwrights-in-Residence, and others in the theatre community. We also want to hear from YOU -- click here to find out how you can contribute.

"The soaring theatricality of Angels in America is justly celebrated. What I celebrate most is its sane good humor as it hits its targets with devastating force, targets that until Tony Kushner showed them to us, we did not know existed."
-Playwright Romulus Linney

Romulus Linney was the founding Playwright-in-Residence at Signature Theatre Company during the 1991-92 season.

Love ANGELS IN AMERICA? We Want to Hear From You!

Starting next week we will begin to share thoughts people have on the power and impact of Tony Kushner’s Angels in America – words from Broadway cast members, our current cast and creative team, Signature’s past Playwrights-in-Residence, and others in the theatre community.

But that’s not all – we want to hear from you!

Were you in a college production of the show? Did seeing the national tour or a regional production deeply affect you? Was the HBO miniseries your first exposure to Tony Kushner’s landmark work? Let us know! We would love for you to send in your thoughts, be they in text form, photos, videos, artwork, or however else you would like to express them. We’ll be posting some of the material we receive on the blog, alongside the folks discussed above. We will also randomly select 3 individuals who submit to receive a special prize!

Please send all submissions to angelsinamerica@signaturetheatre.org.

We look forward to hearing from you!

Revealing the Artwork for Signature's Production of ANGELS IN AMERICA

We are proud to reveal the show art for the Signature Theatre Company production of Angels in America, which begins performances on September 14. The art for our production was created by noted designer Milton Glaser, who also designed the art for the original Broadway production!

Be sure to check back next week when we launch our Angels in America microsite. And don't forget -- single tickets go onsale August 3 at 10AM!

Announcing the Cast of ANGELS IN AMERICA

We are very pleased to formally announce the cast and design team for the Signature Theatre Company production of Angels in America: A Gay Fantasia on National Themes:

Robin Bartlett as Hannah Pitt
Christian Borle as Prior Walter
Bill Heck as Joe Pitt
Zoe Kazan as Harper Pitt
Billy Porter as Belize
Zachary Quinto as Louis Ironson
Robin Weigert as The Angel
Frank Wood as Roy Cohn

Angels in America will feature scenic design by Mark Wendland, costume design by Clint Ramos, lighting design by Ben Stanton, sound design by Ken Travis, projection design by Wendall K. Harrington, original music by Michael Friedman and fight direction by Rick Sordelet. Production Stage Manager is Monica Cuoco and Stage Manager is Joshua Pilote.

Performances begin September 14, 2010 at The Peter Norton Space. Part 1: Millennium Approaches and Part 2: Perestroika will be presented in repertory.

Tickets will be on sale starting August 3 at 10AM.

Let the fun begin!

Getting Ready for Portraits of the Orphans'

We'll post the actual portraits in a few days, but here's a sneak peak (in fast-forward) of the photo shoot our institutional photographer Gregory Costanzo did last week with the cast of The Orphans' Home Cycle.

Enjoy!

2010.0430 Signature Theatre | Orphans Portrait Sesh2 from Gregory Costanzo on Vimeo.

The Wig's The Thing

Signature's photographer Gregory Costanzo set up a time-lapse camera backstage at The Orphans' Home Cycle to capture Wig Supervisor Karine Ivey getting Hallie Foote's wig ready for the performance. Check it out! (Warning -- it moves very fast!)

Signature Theatre Backstage | Orphans' Cycle Wig-o-rama from Gregory Costanzo on Vimeo.

New York Premiere of Tony Kushner's Newest Play Will Be Part of Signature's 2010-11 Season

NEW YORK PREMIERE OF
TONY KUSHNER’S
THE INTELLIGENT HOMOSEXUAL’S GUIDE TO
CAPITALISM AND SOCIALISM WITH A KEY TO THE SCRIPTURES
TO BE PRESENTED IN THE 2010-2011 SEASON BY
THE PUBLIC THEATER AND SIGNATURE THEATRE COMPANY
IN ASSOCIATION WITH THE GUTHRIE THEATER

PRODUCTION TO BE DIRECTED BY MICHAEL GREIF
MARCH 22-JUNE 12, 2011 AT THE PUBLIC THEATER

The Public Theater (Artistic Director Oskar Eustis; Executive Director Andrew D. Hamingson) and Signature Theatre Company (Founding Artistic Director James Houghton; Executive Director Erika Mallin) announced today that the New York premiere of Tony Kushner’s THE INTELLIGENT HOMOSEXUAL’S GUIDE TO CAPITALISM AND SOCIALISM WITH A KEY TO THE SCRIPTURES will be presented in the 2010-2011 season in a co-production between The Public Theater and Signature Theatre Company, in association with the Guthrie Theater. Michael Greif, who directed the world premiere at the Guthrie in April, 2009, will direct the New York premiere, which will play March 22-June 12, 2011 at The Public Theater. Casting will be announced at a later date.

The Public Theater and Artistic Director Oskar Eustis have a long history with Tony Kushner, dating back to 1986 when Eustis, then Artistic Director of the Eureka Theater in San Francisco, directed Kushner's first professional production, A Bright Room Called Day (later seen at the Public Theater), and commissioned Angels in America, which he then directed in its world premier at the Mark Taper Forum. The Public Theater also developed Kushner’s musical Caroline, or Change and then transferred it to Broadway in 2004. In 2006, Kushner’s translation of Bertolt Brecht’s Mother Courage and Her Children was presented at Shakespeare in the Park.

Signature Theatre Company is the first theatre company to devote an entire season to the work of a single playwright, including re-examinations of past writings as well as New York and world premieres. By championing in-depth explorations of a living playwright’s body of work, the Company delivers an intimate and immersive journey into the playwright’s singular vision. Signature’s 20th Anniversary Season, devoted to Tony Kushner, also includes the first New York revival of Angels in America and another production to be announced.

Signature was in residence at The Public Theatre for two seasons in 1995-1997, but THE INTELLIGENT HOMOSEXUAL’S GUIDE marks the first time the two theatres have partnered to present a co-production.

In the summer of 2007, Gus Marcantonio, a retired longshoreman, summons his children to the family’s Brooklyn brownstone for a series of shocking announcements. THE INTELLIGENT HOMOSEXUAL’S GUIDE TO CAPITALISM AND SOCIALISM WITH A KEY TO THE SCRIPTURES explores revolution, radicalism, marriage, sex, prostitution, politics, real estate, unions of all kinds and debts both repaid and unpayable.

Tony Kushner commented, "I have a long relationship to The Public Theater, beginning of course as an audience member when I first arrived in New York and then as a playwright, through A Bright Room Called Day, produced by Joe Papp and directed by Michael Greif; The Dybbuk, produced by George C. Wolfe; Caroline, or Change, which George produced and directed; and Mother Courage and Her Children, produced by Oskar Eustis. Oskar and I have been working together closely since the start of my career. The Intelligent Homosexual’s Guide, or as I’ve been abbreviating it, iHo, has deep roots in an ongoing conversation with Oskar about life, politics and art that’s essential to my thinking and writing. Since I began working on it, this play has felt to me like it belonged at The Public.”

“There’s no theater on earth I admire more than the Signature, both for its faith in American playwrights and for its magnificent productions of our plays. Jim Houghton has enormous talent and daring, a man of marvelous collegiality and seriousness of purpose. I’m thrilled and honored to have been offered a Signature season. Now that it’s almost here, I’m also terrified, but in the nicest way. Since I began working on this play, I felt it would make a perfect choice for the new play slot in my Signature season. iHo opening in New York as part of both The Public’s and Signature’s season, co-produced by Oskar and Jim, feels so much like having my cake and eating it too that I’m embarrassed by my good fortune, and very happy."

“Tony Kushner has been a crucial part of the Public Theater family for 20 years,” said The Public Theater’s Artistic Director Oskar Eustis. “Tony's work is fiercely intelligent, deeply moral and wildly entertaining. THE INTELLIGENT HOMOSEXUAL'S GUIDE is a classic American family play, but his canvas is as large as America itself. The Public is proud to join with Signature Theater Company to produce this essential work.”

“Tony Kushner is an essential voice in the American theatre and I’ve long hoped for the opportunity to do a season together,” commented Signature Founding Artistic Director James Houghton. “We’re thrilled that Signature’s 20th season will mark the 20th anniversary of Tony’s seminal work, Angels In America: A Gay Fantasia on National Themes and the New York premiere of his crushing and thrilling new play, THE INTELLIGENT HOMOSEXUAL’S GUIDE TO CAPITALISM AND SOCIALISM WITH A KEY TO THE SCRIPTURES. We look forward to partnering with Oskar Eustis and our friends at the Public on this production and it is especially exciting to have Michael Greif, who has a history with both companies, at the helm of this important work.”

"We are enormously proud of THE INTELLIGENT HOMOSEXUAL'S GUIDE, having commissioned it for the Guthrie Theater's three-month long Kushner Celebration in 2009,” said Guthrie Director Joe Dowling. “Michael Greif's original production was the centerpiece of our highly successful Celebration and I'm thrilled that its journey continues. I wish Tony, Michael, Jim and Oskar much success in the New York production."

TONY KUSHNER (Playwright). His plays include A Bright Room Called Day; Angels In America, Parts One and Two; Slavs!; Homebody/Kabul; Caroline, or Change, a musical with composer Jeanine Tesori (Public Theater/Broadway); and The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. His adaptations include Corneille's The Illusion, S.Y. Ansky's The Dybbuk, and Brecht's The Good Person of Sezuan and Mother Courage and Her Children (Public Theater). Kushner’s films include “Angels In America,” and Munich. His books include Brundibar, illustrations by Maurice Sendak; The Art of Maurice Sendak, 1980 to the Present; and Wrestling With Zion: Progressive Jewish-American Responses to the Palestinian/Israeli Conflict (co-edited with Alisa Solomon). Kushner has received the Pulitzer Prize, an Emmy Award, an Oscar nomination, two Tony Awards, three Obie Awards, an Olivier Award, two Evening Standard Awards, and is the first recipient of the Steinberg Distinguished Playwright Award.

MICHAEL GREIF (Director) directed the world premiere of The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures at The Guthrie Theater last April. He will be directing The Winter’s Tale for The Public Theater’s Shakespeare in the Park this summer as well as Angels in America for Signature Theatre. His other Public Theater credits include the 2007 Shakespeare in the Park revival of Romeo and Juliet, Diana Son’s Satellites, the launch performance of Suzan-Lori Parks’s 365 Days / 365 Plays, Fucking A, Dogeaters (Obie), Marisol, Pericles, Casanova, A Bright Room Called Day, and Machinal (Obie). For Signature Theatre Company, he directed John Guare’s A Few Stout Individuals and Landscape of the Body. Greif’s Broadway credits include Jonathan Larson’s Rent (Obie Award, Tony nom.), Grey Gardens (Tony nomination) and Next to Normal (Tony nomination). He is an Artistic Associate at New York Theatre Workshop, where his credits include Cavedweller, Bright Lights, Big City, and Rent. His other Off-Broadway credits include Boy’s Life (Second Stage), Neil LaBute’s The Distance from Here and A Very Common Procedure (MCC), Neal Bell’s Spatter Pattern (Playwrights Horizons), Beauty of the Father (MTC), Mr. Marmalade (Roundabout), Betty Rules (Zipper), and Bell’s Monster (CSC). Greif has a longstanding association with the Williamstown Theatre Festival where his credits include Cherry Orchard, Three Sisters, The Seagull, Street Scene, Tonight At 8:30 and Once in a Lifetime. He was Artistic Director of La Jolla Playhouse from 1995-1999 where he directed Our Town, Sweet Bird of Youth, Diana Son’s Boy, Randy Newman’s Faust (also Goodman), Kushner’s Slavs (also Taper), and Thérèse Raquin.

THE PUBLIC THEATER (Oskar Eustis, Artistic Director; Andrew D. Hamingson, Executive Director) was founded by Joseph Papp in 1954 and is now one of the nation’s preeminent cultural institutions, producing new plays, musicals, and productions of classics at its downtown and at the Delacorte Theater in Central Park. The Public’s mandate to create a theater for all New Yorkers continues to this day onstage and through extensive outreach and education programs. Each year, over 250,000 people attend Public Theater-related productions and events at six downtown stages, including Joe’s Pub, and Shakespeare in the Park. The Public has won 42 Tony Awards, 149 Obies, 40 Drama Desk Awards and four Pulitzer Prizes. The Public has brought 52 shows to Broadway, including Sticks and Bones; That Championship Season; A Chorus Line; The Pirates of Penzance; The Tempest; Bring In ‘Da Noise, Bring In ‘Da Funk; On the Town; The Ride Down Mt. Morgan; Topdog/Underdog; Elaine Stritch at Liberty; Take Me Out; Caroline, or Change; Well; Passing Strange; and, most recently, the current Tony Award-winning revival of Hair. www.publictheater.org.

SIGNATURE THEATRE COMPANY (James Houghton, Founding Artistic Director; Erika Mallin, Executive Director) was founded in 1991 by James Houghton and is the first theatre company to devote a season to the work of a single playwright. Signature has presented entire seasons of Edward Albee, Lee Blessing, Horton Foote, Maria Irene Fornes, John Guare, Bill Irwin, Adrienne Kennedy, Romulus Linney, Charles Mee, Arthur Miller, Sam Shepard, Paula Vogel, August Wilson, Lanford Wilson and the historic Negro Ensemble Company. The twentieth season features the work of Tony Kushner. Since 2005, Signature has presented world-class theatre at an affordable price through The Signature Ticket Initiative, offering subsidized $20 tickets through 2011. This program is made possible by the lead sponsorship of Time Warner Inc. Signature, its productions, and its resident writers have been recognized with a Pulitzer Prize, Lucille Lortel Awards, Obie Awards, Drama Desk Awards, and AUDELCO Awards, among many other distinctions. Signature Theatre Company recently announced a new, permanent home beginning in 2012. The Frank Gehry-designed Signature Center on W. 42nd Street will feature three programs: the Master Playwright s Residency, which explores major bodies of work; the Legacy Program, which celebrates previous Signature artists, and the Emerging Playwrights Residency, which features early and mid-career playwrights. www.signaturetheatre.org.

GUTHRIE THEATER (Joe Dowling, Director) was founded by Sir Tyrone Guthrie in 1963 and is an American center for theater performance, production, education and professional training. The Tony Award-winning Guthrie Theater is dedicated to producing the great works of dramatic literature, developing the work of contemporary playwrights and cultivating the next generation of theater artists. With annual attendance of nearly 500,000 people, the Guthrie Theater presents a mix of classic plays and contemporary work on its three stages. Under the artistic leadership of Joe Dowling since 1995, the Guthrie continues to set a national standard for excellence in theatrical production and performance. In 2009 the Guthrie devoted all three of its stages to the work of Tony Kushner for simultaneous productions of Caroline, or Change, Tiny Kushner and the world premiere of The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures drawing more than 90,000 visitors for an unprecedented three-month celebration. In 2006, the Guthrie opened its new home on the banks of the Mississippi River in Minneapolis. Designed by Pritzker Prize-winning architect Jean Nouvel, the Guthrie Theater houses three state-of-the-art stages, shops, classrooms and dramatic public lobbies. www.guthrietheater.org.

Dramaturg's Diary: Catching up with Alumni

I have been feeling immersed in Signature alumni playwrights lately, having had the honor and pleasure connecting and re-connecting with many of them at Signature’s Annual Gala on March 1st. Or, maybe they have also been on my mind because they have been positively ubiquitous these past couple of seasons, with new and past works being produced all over the country, as well as New York and abroad. Therefore, as we wrap up the 2009-2010 Season, I thought that a suitable subject for the revival of “Dramaturg’s Diary,” would be highlighting some of the recent work of our prolific past Playwrights-in-Residence.

This season saw a wealth of brand new work from our playwrights. In January 2010, Charles Mee (2007-2008) collaborated with the SITI Company and Martha Graham Dance Company on American Document, inspired by Graham’s 1938 piece of the same name. A workshop of American Document was presented in the Under the Radar Festival at The Public Theater and will be seen in June at The Joyce Theatre.

Lee Blessing’s (1992-1993) new play, When We Go Upon the Sea, opens at Philadelphia’s InterAct Theatre Company on April 19th. Signature’s bookstore is now stocking Romulus Linney: Maverick of the American Theatre by John Fleming, a new study of Signature’s Founding Playwright-in-Residence’s (1991-1992) life and work. New York’s Abingdon Theatre Company presented the world premiere of Mr. Linney’s Love Drunk in April 2009. Next season Lincoln Center Theater will present the world premiere of John Guare’s A Free Man of Color, beginning in October in the Vivian Beaumont Theater.

And of course, Horton Foote’s (1994-1995) The Orphans’ Home Cycle continues to run at Signature’s The Peter Norton Space, in a co-production with Hartford Stage.

Many plays by our playwrights found their way to New York for the first time this season, or can be anticipated soon. Sam Shepard’s Ages of the Moon recently closed at Atlantic Theatre Company. Mr. Mee’s Fetes de la Nuit was presented at The Ohio Theatre in February, and Limonade Tous Les Jours will arrive in April. Next season, Edward Albee’s Me, Myself, and I will open Playwrights Horizons' 2010-2011 Season. Further afield, Paula Vogel’s (2004-2005) A Civil War Christmas was seen at Boston’s Huntington Theatre Company in November of 2009.

Revisits to our writers’ past work have been rampant all over the country (and abroad!) this season and next season. The California Institute of the Arts (CalArts) School of Theater celebrated Adrienne Kennedy (1995-1996) with examinations of her plays Funnyhouse of a Negro, June and Jean in Concert, and Sun: A Poem for Malcolm X Inspired by His Murder. Signature is also selling limited edition autographed hard copies of Ms. Kennedy’s People Who Led to My Plays in our lobby bookstore at The Peter Norton Space. The New Group gave another look to Sam Shepard’s A Lie of the Mind, which closed this past weekend.

This week INTAR Theatre, in association with NYU’s Department of English, will begin the 2010 New York Fornes Festival, in honor of the upcoming 80th birthday of Maria Irene Fornes (1999-2000), with presentations of Ms. Fornes’s work all over Manhattan. Plays include Fefu and Her Friends, Successful Life of 3, What of the Night?, and a screening of the film, "The Rest I Make Up": Documenting Irene.

Currently running in New York is Arthur Miller’s (1997-1998) A View from the Bridge, which can be seen on Broadway at the Cort Theatre until April 4th. After that it will make room for August Wilson’s (2006-2007) Fences, which begins on April 14th. Also in April, Charles Mee’s collage ode to collage artist Robert Raushenberg, bobrauschenbergamerica, arrives at Dance Theatre Workshop.

Signature playwrights have been active overseas as well: if you happen to be in London, John Guare’s (1998-1999) Six Degrees of Separation can currently be seen at The Old Vic and Lanford Wilson’s (2002-2003) Serenading Louie is running at The Donmar Warehouse. Mr. Wilson’s Fifth of July will be seen at Williamstown Theatre Festival this summer, The Hot L Baltimore at Chicago’s Steppenwolf Theatre Company in March of 2011, and a revival of Talley’s Folly will hit Broadway next season as well.

Mr. Albee will also be honored at Washington D.C.’s Arena Stage, who will celebrate Mr. Albee over the course of three months with readings of all thirty of his plays and productions of Who’s Afraid of Virginia Woolf? and At Home at the Zoo. Finally, Chicago’s Court Theatre will present Samm-Art Williams’s (NEC Season, 2008-2009) Home in November 2010.

In addition to their thriving writing careers, many of our playwrights give of themselves as teachers, mentors, producers, directors, even performers. Leslie Lee (NEC Season, 2008-2009), when he has not been attending every Signature alumni event and opening night this season, has been managing director of The Negro Ensemble Company, who presented his Sundown Names and Night Gone Things at the Castillo Theatre in May 2009. Bill Irwin (2003-2004) was featured in Roundabout Theatre Company’s revival of the musical Bye Bye Birdie, which ran from September 2009 until January 2010 at the Henry Miller Theatre on Broadway. Charles Fuller (NEC Season, 2008-2009) has been supporting new work and the rising generation of playwrights, mentoring The Belle of Belfast by Nate Rufus Edelman as part of The Cherry Lane Mentor Project.

I’m afraid this list does not even scratch the surface of our playwright’s activity this season and next. Suffice to say that it seems to have been a banner year for our writers. Congratulations to all of our past Playwrights-in-Residence on their current and future projects, and looking forward to seeing you at the theatre.

The Reviews Are In for ORPHANS' HOME CYCLE Part 3: The Story of a Family

The Orphans' Home Cycle, Part 2: The Story of a Marriage opened at Signature Theatre on January 26, 2010, and the critics loved it just as much as they did the first two installments!

Life, Death and Family in Foote’s Texas
Ben Brantley, THE NEW YORK TIMES

“Nobody in Harrison, Tex., needs to ask for whom the bell tolls. Not, at least, in 1918, the year that gives the title to the opening work in the reverberant final installment of Horton Foote’s “Orphans’ Home Cycle” at the Peter Norton Space on West 42nd Street.

Again and again, the iron tongue clangs from the church steeple, and people in town realize that the flu has taken another victim, most likely someone they’re acquainted with. Odds are they’ll know the name of the deceased — and the time and place of death — before the tolling stops.

The three short dramas that make up “The Story of a Family,” which opened on Tuesday night, are both the starkest and most sentimental of this lovingly painted life-and-times portrait, directed by Michael Wilson in a co-production of the Hartford Stage and the Signature Theater Company.

More than its predecessors, “Family” brings home the sense of how tenuous existence was in western America in the early 20th century, and how desperate it could become. Small wonder that people clung to the notions of their extended families as if they were the very tree of life.

One of the pleasures of repertory is watching how actors become different characters. Here, under Mr. Wilson’s gliding direction, this is usually achieved with a simple, restrained grace, acknowledging that the canvas matters more than the figures within it.”


Click here to read full review


Foote’s Fine ‘Family’ Goes the Whole Nine Yards
Elisabeth Vincentelli, NEW YORK POST

With a total running time now up to nine hours, Horton Foote’s "The Orphans' Home Cycle" finally draws to an end with the opening of its third and last three-act installment, "The Story of a Family." It's been a long, steady ride since the first one opened in November, and reaching the destination brings a fulfilling sense of completion.

Foote doesn't neatly tie up loose ends, but it doesn't matter because what he does do is provide an ending that feels as natural and satisfying as a river reaching the sea.

The playwright gave himself a big challenge by making Horace a "good man" -- the kind of stoic, reliable citizen you don't necessarily associate with pulse-quickening drama. But "The Orphans' Home Cycle" is unrelenting in its own gentle way, and we easily become hooked to its succession of seemingly mundane events, quarrels and small pleasures.

Click here to read full review

‘Orphans’ Home Cycle’ offers pleasures worth the wait
Joe Dziemianowicz, DAILY NEWS

Superior acting, direction and design work — hallmarks of the first two segments of "The Orphans' Home Cycle" — are front and center in this final installment.

The show is filled with riches. To his credit, Foote, who died last March, doesn't tie things up with a pretty bow — rather with something more uncertain. The line that lingers near the end is a simple one: "A family is a remarkable thing, isn't it?"

It is. So is this theatrical event."

Click here to read the full review


‘The Orphans’ Home Cycle’ reaches a satisfying end
Mike Kuchwara, ASSOCIATED PRESS

The story of Horace Robedaux comes to an emotionally and theatrically satisfying conclusion in Part 3 of "The Orphans' Home Cycle," Horton Foote's monumental, nine-hour saga of one man's journey to adulthood.

After already having spent six hours with the man, Horace has, by this third collection of one acts, become an old friend. He anchors Foote's intricately woven tapestry of life in fictional Harrison, Texas, during the first three decades of the 20th century.

Part 3, which opened Tuesday at off-Broadway's Signature Theatre Company, is called "The Story of a Family," and is directed — like Parts 1 and 2 — by Michael Wilson with stunning clarity. Its themes are pretty much summed up by one of the characters in the evening's second act: "A family is a remarkable thing, isn't it? You belong. And then you don't. It passes you by, unless you start a family of your own."

Click here to read full review


‘The Orphans’ Home Cycle, Part 3 – The Story of a Family’
Melissa Rose Bernardo, ENTERTAINMENT WEEKLY

A cloud of sadness looms over The Story of a Family, the third and final installment in The Orphans' Home Cycle — and it's palpable even before the play's funereal beginning. It signals that Horton Foote's sublime trilogy is coming to a close; these are

After nine hours of The Orphans' Home Cycle, it seems ungrateful to want more: There are, after all, nine plays and three productions on display at Off Broadway's Signature Theatre; director Michael Wilson and his 22-member cast have done remarkable work, imbuing Foote's epic piece with a delicate intimacy.

Grade: A.

Click here to read full review


‘The Orphans’ Home Cycle: Part 3’
Horace Robedaux’s journey ends
David Cote, TIME OUT NEW YORK

Five Stars! (out of five)

Before his death last year, Horton Foote finished condensing nine full-length, sequential dramas (written in the ’70s) into the nine-hour epic that we now know as the Orphans’ Home Cycle. But as the plays were boiled down to their essences, a rich and strange mutation occurred: Time became radically shortened. Events that should take about an hour of real stage time (a trip into town, a funeral, getting sick from influenza) now unfold in five or ten minutes, which ramps up drama and forces you to suspend disbelief.

So fine-tuned is the ensemble’s acting, and so precise is Michael Wilson’s direction, this temporal strangeness only heightens the complex pleasures of Foote’s melancholy masterpiece.

Click here to read the full review

‘The Orphans’ Home Cycle: Part 3 – The Story of a Marriage’
Erik Haagensen, BACKSTAGE

"Don't be too sure. Don't be too sure about anything, Big Horace. Not anything in this world." Horton Foote's extraordinary nine-play saga, "The Orphans' Home Cycle," ends with this plainspoken warning from one brother-in-law to another as a family sits down to dinner. Simple, perhaps even obvious words, and yet in Foote's hands they are quietly shattering, taking on mythic dimension. Now that the end of the cycle has been reached, I'm happy to say that what I hoped for after seeing Part One is true: Foote's final gift to the stage is glorious, an essential American masterwork."

Click here to read the full review