"A flat-out fabulous revival...with a top-flight cast led by Andrew Garfield and Nathan Lane in career-high performances...The inhabitants of 'Angels' are as glowingly individual as illuminated fingerprints. I found it impossible not to identify or even fall a little in love with all of them...The play’s second half still lacks the focus of its first part...But the characters remain so palpably there, in the writing and the performance, that attention never flags."
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"A production of magnificent tenderness and sinew...Every moment is so rich, so rewarding, so engrossing that it flies by in a rush. It is hard to do justice to the multitudes that 'Angels' contains: its synthesis of the intellectual and the lyrical, the comic and the tragic, the intimate and the epic, the engaged and the transcendent. This is a play that breaks and fills your heart; it inspires you as it takes your breath away...Does 'Angels' in America still speak to us now? Yes, it does."
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"Couldn’t feel more vivid, more eloquently enraged, funnier, or more full of life...Elliott’s shadowy, shifting production is proof that Kushner’s play is that rarest and most thrilling of creations: a piece of theater that’s immediate and immortal...The ensemble is a muscular and immensely moving one...The brilliance of 'Angels' lies not only in its remarkably drawn characters, or its interwoven storylines, or its richness of ideas, but in Kushner’s ability to suffuse all these things with humor."
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"Roy Cohn is played by Nathan Lane, and his presence is its most distinctive element...Elliott’s cast, Lane and Garfield excepted, too often has trouble getting out in front of the hectic visual action...Watching this production, it’s easy to forget that 'Angels' is a conceptually big play that calls for an unexpectedly small cast...'Angels' works best in the theater, and if you’ve never seen it there, this revival, imperfect though it is, will show you much of what you’ve been missing."
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"As rich a theatrical experience as when Kushner won the Pulitzer back in ’93...The up-is-down mendacity of Roy Cohn’s right-wing school of power-broking literally eulogized in 'Angels' has proven more tenacious than even Kushner’s all-seeing seraphim might have imagined...This revival pulses with Kushner’s explosive imagination and a cast that comes thrillingly close to the emotional power of the original cast...Chief among them being Lane."
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"The most electrifying production you’re apt to ever see of the author’s masterwork...The scope and richness of the two-part saga remain as impressive as ever...Direction by Elliott amplifies the play’s powers and wrings out every drop of emotion. Slashes of neon, rotating set pieces, and a seamless restlessness give the staging its own striking distinction...The cast is uniformly very effective...The desire for 'more life' remains constant. Just like the power of this sprawling play."
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"Elliott’s production approaches Kushner’s overflowing dramatic riches by balancing the realistic style of the early domestic scenes with the fantastic surrealism of the later dream sequences...In introducing his substantial cast of characters, Kushner humanizes the tragedy of their lot with flashes of spiky New York (i.e., gay) humor...We’re entangled in Kushner’s expanding themes, amazingly prescient for their own time and still of critical importance to ours."
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"In a superlative production like this one, directed with laser-like acuity by Marianne Elliott, it's the prescience of the writing that truly astonishes — no less than the harrowing beauty, the wildly imaginative flights and the acerbic humor of the drama, or the riveting work of a magnificent ensemble...What remains amazing is how much of this sprawling yet cohesive tapestry Kushner got so right...There are design masterstrokes that take your breath away."
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