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“Hello and Good Morning”

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“Hello and Good Morning” When Susan Brown step out, obscured by Rabbi beard and hat, to utter those words and open Angels in America this Saturday, it is a milestone moment. 26 years, 4 months and 2 days (yes, exactly) after opening on Broadway the Angels have finally flown home, via London. There’s a sense that once again in this play’s history, London quietly created something quite special out of this iconic American play. It’s right that it’s Brown who opens the play. The formidable, often overlooked actress Broadway probably has never heard of but should have. Because despite the star line up above the title there’s a quiet, yes quite British confidence, about a production filled with non-Americans taking on this icon of British theatre. Much like the doubling in the play, the original London production was a ‘double’ of the Broadway (and Los Angeles) productions happening simultaneously.   And yet, through quirks of logistics, the National Theatre ended
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Lee Pace, Labels and 'What are you doing writing about this play?'

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I really tried to stay out of some of the debacle around a certain magazine article. But I have always had strong opinions on the 'shoulds and shouldn'ts around this play. And I also have strong opinions on the labels our so-called community forces on us.  So in a blog of two halves, the professional and personal here is my write-back to that W magazine interview with Lee Pace.   The first half relates to this play. I've been around the block with it enough times to know many people have strong opinions on who can and can't be in/work on/like this play. Firstly, the only person with any say in two of those categories is Tony Kushner. The latter nobody has say on. As a woman, born in 1984, in the UK who through virtue of those things does not identify as a gay American Man, I've had my share of criticism for working on the play. The idea that somehow my 'understanding' or 'love' of it was different. That is was somehow driven of som
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More Life- Angels in America on Broadway

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“More Life” Revisiting revival It’s a rare luxury to revisit any theatre production later in its life. More so to see an evolved production. That’s what visiting Angels on Broadway feels like. They are of course the same production…but not. This is a production that has ‘flown home’ and now exists before a home crowd audience. One which knows not only the nuances of the play, but the world in which it lives. Theatre is a living breathing thing, the play we watch on stage is created with the audience. And so, the Broadway production is a unique entity- the same production but different in many respects. “I live in America Louis” on audiences In terms of audiences, this is a critical thing to address- both in terms of the play’s place with Broadway audiences and how they engage with it. But I’ve been going to Broadway for about 15 years, and I’ve never seen a play greeted with such rapture as this one. It was more like watching a musical- applause after every scen
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