ANGELS IN AMERICA – Written by Tony Kushner; Part I directed by Bernie Cardell; Part II directed by Troy Lakey. Produced by Vintage Theatre Productions (1468 Dayton St, Aurora) through May 10. Tickets available at 303-856-7830 or VintageTheatre.org.
When I first discovered that Vintage intended to do Angels in the smaller of their two theatres, I thought that this story was too big for that small place. But as usual, Bernie and Troy knew what they were doing. The small but magnificent set, designed by Brendan Cochran, built by Biz Schaugaard, Lexi Renfro, and Don Fuller, and painted by Bernie Richard, exactly fits this intimate and personal production as directed by both. This is not a big and blustery production; it is private, even delicate, poignant in the most quiet ways. It is having a secret whispered in your ear. It is curtains blowing in a gentle breeze, hiding the pain of the one standing behind them. It is turning away.
Then it catches you by surprise with an unexpected hearty laugh or a comical response to a difficult question. A breathtakingly tender moment. Juxtaposed against this heartfelt human reality is the comic relief of politics. The utter absurdity of a character like Roy Cohn, who in 2026 could have at least a dozen other names from today’s headlines. He and his ilk cannot be real, can they? Sadly.
The smaller environment allows the audience to sit in the bedrooms, follow the cast into their offices and living rooms, visit their hospital beds, and be more a part of the story than an observer. The length of their storytelling builds affection and concern for what is happening to them. It’s no slam-bam, finished, done, over. It’s more of a “and then this happened” kind of experience. So, yes, the intimacy counts. The directors knew that. The actors embraced it. The audience revels in it.
The length of the play and the intricacies of the script give each actor an optimum time to develop familiarity with their characters. Plural. All of the actors play multiple roles and angels. However, you never lose sight of the storyline or their individual roles in making it come alive. It’s just fun watching Haley Johnson move from being a Rabbi (mustache and all), conducting a levaya to a lookalike Ethel Rosenberg to a distraught Mormon mother.
It is always a joy watching actors you know jump into the skins of a new character. Watching Dakota Hill do anything on stage is always a treat. His Louis, becoming tormented by guilt and uncertainty, moves you to compassion in one moment and makes you want to slap some sense into him the next. A real “to be or not to be” moment or two that he carries off well. Johnathan Underwood continues his long string of “never two alike” characters with his Belize, a caring friend, a no-nonsense, yet practical nurse. Kelly Uhlenhopp succeeds as the advice-giving Bethesda Angel, as well as in roles as a nurse who tends to AIDS patients and a Mormon woman in a diorama. The last role calls upon her to stand for a good five or six moments without moving – a hard thing for anyone to do.
Special notice must be given to Andrew Uhlenhopp for his riveting portrayal of Roy Cohn. He started his ANGEL connection playing Louis in the original Vintage production. His Roy, which incorporates the sixteen years Andrew has been playing other (kinder) roles and living his own creatively productive life, comes to this performance with a spitting anger, an absurd view of the world, and a selfishness hard to believe. Can a man truly be that sure of his exalted place in the world that he needs no one, cares for no one? Kushner would have us believe that. It’s only in his final hours that his abject loneliness and fear show themselves.
And then there’s the new kids in town. Three of the lead roles are given to people new to Vintage. Chad Hewitt plays the difficult role of Joe Pitt, raised a Mormon with an antiquated version of morality (remember this is the 80’s), married to a woman who wants more than affection, and fighting his personal attraction to men. Joe is tormented by the lure of political positioning, a tentative first-time relationship with a man, and the needs he can’t meet for his addicted wife. Heartbreak and personal disappointment rock his sense of himself; a hard lesson for one trying so hard to be a moral Mormon.
Casey Board gives us a sterling and heartfelt performance in Prior Walter. His journey into and out of AIDS takes him to despair and back again. He runs the gauntlet of emotions in this episode and takes the whole audience with him. With all of us having gone through the more recent COVID trip (just in case you didn’t live through the 80’s and the AIDS crisis), it is not difficult to respond to his pain, fear, and disappointment in Louis, who abandons him. It is no wonder that Hannah Pitt, Joe’s mother, responds to his dry humor and becomes his caregiver. His final confrontation with Louis becomes a personal triumph for both him and the audience.
Nicole Kaiser as Harper Pitt, Joe’s long-suffering wife, gives a stunning tour de force portrayal of a woman disappointed in her choice of husband; he kisses her on the head and calls her Buddy! That seems to be the extent of his lovemaking. It has led to her dependence on Valium to get her through the day and through hallucinogenic dreams. But slowly, slowly, she comes to see the light of day and works her way back to reality and her own independence. Changes you utterly believe in Nicole’s performance. It will be so much fun to see what these three do next.
There are many ways and many days left to see this icon of a theatrical experience. If you are not attracted by the amazing story being told, by the brilliance of the production, by the warmth of attending a Vintage performance . . . at least honor the place in theatrical history that this script holds. A Pulitzer award and a Tony for Best Play! Even Wikipedia calls it a “timeless and relevant masterpiece.” Does it get any better? I don’t think so.
A WOW factor of 9.50!!