The Millennium Approaches: Angels in America Pt. 1 at the Ritz Theatre Company
by Cassidy Scherz
I have to admit, when I first agreed to review The Ritz Theatre’s production of Angels in America, I was slightly intimidated by this intense three-act, three-hour production. For those who have not had the privilege of reading Angels in America in their freshman year acting class, let me set the scene: Tony Kushner’s play opens in New York City in the year 1985, several months after President Ronald Reagan’s reelection. We are introduced to two couples - a Mormon husband, Joseph Porter Pitt, and his wife Harper, and lovers Louis Ironson and Prior Walter. As the show opens, we learn that Joe Pitt has just been offered a job in Washington D.C. by his boss Roy Cohn, but he delays accepting the offer, stating that he must first talk to his mentally unstable and valium-addicted wife. Louis learns that Prior has contracted AIDS, and Prior admits that he fears Louis will leave him. Over the next three hours, we watch both couples navigate their relationships and the world as they uncover the true meanings of identity and love.
After seeing director Matthew Weils’ production, I can confidently say this is not a show you want to miss. Both Weil and the cast breathe life into this production, bringing us the humor, the anguish, and the love that this show has to offer.
William Bryant handles Joe Pitt with the utmost care, effectively depicting the cognitive dissonance that plagues his character. Being a staunch Republican and Mormon, Joe grapples with his identity as a gay man, and he must find a way to regain control over his “perfect” life. Bryant’s internal conflict makes for an especially relatable character, and despite his controversial political takes, we can’t help but hope he finds his way. In addition to Joe Pitt, Bryant also plays Prior 1, the buoyant ancestor of Prior Walter who prepares the way for the unseen messenger.
MJ Santry brings a manic somberness to the character of Harper Pitt, and I was impressed by her ability to find pockets of humor in this depressing role. Due to her drug addiction, Harper is susceptible to hallucinations, occasionally coming to a “threshold of revelation” in which information about her relationship and the world is unwittingly revealed to her. Santry does a wonderful job at delivering this paranoid dreamer, and I look forward to seeing her character grow even more in Part II. Santry also plays Martin Heller, the inappropriate and boisterous colleague and friend of Roy Cohn.
In my opinion, one of the hardest things to do as an actor is to make the audience hate you. It is a testament to Peter Herrick’s ability as an actor that he accomplishes this flawlessly. His portrayal of the misogynistic and unethical lawyer Roy Cohn strikes a nerve, and even Cohn’s AIDS diagnosis does little to earn the character sympathy. Herrick’s ability to affect other actors is apparent, and his blatant malevolence is, honestly, quite disturbing. Alongside Bryant, Herrick also plays another one of Prior’s ancestors.
Brian Gensel’s performance as the sick and heartbroken Prior was devastating to watch. After he is admitted to the hospital and abandoned by his lover, Prior struggles to maintain his sanity, believing that he is going crazy. Gensel’s ability to depict both physical and emotional pain nearly brought me to tears several times, and I appreciated his commitment to honoring Prior’s confidence and strength despite the overwhelming adversity he faces. In addition to Prior Walter, Gensel plays the shady Man in the Park.
I was floored by Zachary Taylor’s obvious connection to and understanding of Louis Ironson. I found his ability to dissect Louis’ many monologues and keep the audience engaged very impressive, and I appreciated his perfect comedic timing. He maintains a level of moral ambiguity that allows the audience to put itself in his position, and his chatty and candid personality cuts through the monotonous darkness of the rest of the play.
Rounding out the cast are Dominic Santos (Mr. Lies/Belize), Lori Aleixo-Howard (Hannah Porter Pitt/Rabbi Isidor Chemelwitz/Henry/Ethel Rosenberg), and Kacy Hofstetter (The Angel/The Voice/Emily/Sister Ella Chapter/The Woman in the South Bronx). Santos is animated and vivacious, adding color and energy to every scene they are in. Their comedic timing is impeccable, and their performance as Belize felt extremely authentic. Aleixo-Howard plays her track with stoic humor while still giving each character their own goals and motivation. I was especially intrigued by her performance as Henry, and I was impressed by her ability to play off of the other actors. Hofstetter gives us dramatic range in her track, going from the empathetic nurse to the out-of-touch homeless woman. Her versatility is extremely impressive, and I applaud her ability to find nuance in each character.
The technical team does a great job of enhancing the show without drawing focus from the actors. Nick French’s original music creates an eerie and almost nervous atmosphere, perfectly reflecting the mood of each scene. The lighting, designed by Jen Donsky, mirrors each setting perfectly, particularly intensifying Prior’s and Harper’s hallucination scenes. The elevated black box stage, designed by Matthew Weil, allows the audience to fully immerse themselves in the production and dive into the world of the characters. Similarly, costumes and properties, designed respectively by Megan Iafolla and Lisa Palena, were kept simple and straightforward. The entire design was kept practical and purposeful to maintain the feeling of intimacy. Stage combat and intimacy were both beautifully directed by Sean McGarry.
It has been several days since I have seen Angels in America, and I am still astounded by the profound nature of this production. It is clear that each of the actors, as well as the production team, understand and connect with the world of this play. The Millennium Approaches and I guarantee you will not want to miss it. Angels in America runs till Sun, January 26, purchase tickets here: https://www.tix.com/ticket-sales/RitzTheatreCo/6520
