Andrew Garfield, queer-bag and the perils of 'playg gay' | Andrew Garfield | The Guardian

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• ‘ANGELS AMERI PART I’ REVIEW: A GHOSTLY SYMBSIS OF QUEER {GRID-ROW-START:2;GRID-LUMN-START:2;GRID-LUMN-END:3;}@MEDIA (MAX-WIDTH:950PX){{GRID-LUMN-START:1;GRID-LUMN-END:2;}}{MARG-BOTTOM:1EM;}{DISPLAY:BLOCK;MARG:0PX TO;MAX-WIDTH:640PX;Z-X:20;POSN:RELATIVE;} > DIV{BOX-SIZG:NTENT-BOX;PADDG:0PX 20PX;MARG:0PX TO;} > DIV.SHORT-LEFT{FLOAT:LEFT;} > DIV.SHORT-RIGHT{FLOAT:RIGHT;} > DIV.SHORT-SMALL{MAX-WIDTH:200PX;} > DIV.SHORT-MEDIUM{MAX-WIDTH:400PX;} > DIV.SHORT-LARGE{MAX-WIDTH:600PX;} > DIV.SHORT-XLARGE{MAX-WIDTH:1000PX;} > DIV.SHORT-FULLSCREEN{PADDG:0PX;}{WIDTH:100%;}{MAX-WIDTH:1000PX;MARG:5PX 0PX TO;FONT-FAY:'COLABORATE LIGHT','LUCIDA SANS UNI',SANS-SERIF;LOR:#777;FONT-SIZE:15PX;}THE ST OF ANGELS AMERI, PART 1 AT CENTRAL SQUARE THEATER IMG{PADDG-RIGHT:7PX;}BY {LOR:#BA0600;}COURTY OF NILE STT {BOX-SIZG:NTENT-BOX;MAX-WIDTH:600PX;PADDG:0PX 20PX;MARG:0PX TO;FONT-FAY:'COLABORATE LIGHT','LUCIDA SANS UNI',SANS-SERIF;MARG-BOTTOM:5PX;} A{LOR:#7B1B18;}BY SOPHIE H. KIM, CRIMSON STAFF {BOX-SIZG:NTENT-BOX;MAX-WIDTH:600PX;PADDG:0PX 20PX;MARG:0PX TO;}{DISPLAY:NONE;}@MEDIA (MAX-WIDTH:950PX){{BOX-SIZG:NTENT-BOX;MAX-WIDTH:600PX;PADDG:0PX 20PX;MARG:0PX TO;DISPLAY:BLOCK;PADDG-TOP:20PX;PADDG-BOTTOM:20PX;MARG-TOP:20PX;BORR-TOP:1PX SOLID #EBEBEB;BORR-BOTTOM:1PX SOLID #EBEBEB;}}{DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;-WEBK-FLEX-DIRECTN:LUMN;-MS-FLEX-DIRECTN:LUMN;FLEX-DIRECTN:LUMN;WIDTH:TO;-WEBK-ALIGN-EMS:CENTER;-WEBK-BOX-ALIGN:CENTER;-MS-FLEX-ALIGN:CENTER;ALIGN-EMS:CENTER;POSN:-WEBK-STICKY;POSN:STICKY;TOP:70PX;-WEBK-FLEX-DIRECTN:ROW;-MS-FLEX-DIRECTN:ROW;FLEX-DIRECTN:ROW;-WEBK-BOX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;-MS-FLEX-PACK:CENTER;JTIFY-NTENT:CENTER;POSN:UNSET;} {DISPLAY:LE-BLOCK;PADDG:0PX;} > SPAN{WIDTH:35PX !IMPORTANT;HEIGHT:35PX !IMPORTANT;TEXT-ALIGN:CENTER;BORR-RADI:50%;} SVG{WIDTH:25PX !IMPORTANT;HEIGHT:35PX !IMPORTANT;} .ADDTHIS_BUTTON_EMAIL > SPAN, .ADDTHIS_BUTTON_PRT > SPAN, .ADDTHIS_BUTTON_LK > SPAN{BACKGROUND-LOR:#EBEBEB !IMPORTANT;} .ADDTHIS_UNTER .ADDTHIS_BUTTON_EXPAND{WIDTH:35PX;HEIGHT:35PX;MARG:0PX;PADDG:0PX;BACKGROUND:NONE;TEXT-ALIGN:CENTER;BORR:1PX SOLID #EBEBEB;BORR-RADI:50%;LOR:#EBEBEB !IMPORTANT;} .ADDTHIS_BUTTON_PACT{DISPLAY:NONE !IMPORTANT;} {MARG:0PX 5PX;}{POSN:RELATIVE;WIDTH:100%;} P{MAX-WIDTH:600PX;MARG:0PX TO;PADDG:0PX 20PX;BOX-SIZG:NTENT-BOX;FONT:17PX/25PX GEIA,SERIF;MARG-TOP:1EM;MARG-BOTTOM:1EM;} OL{MAX-WIDTH:600PX;MARG:0PX TO;PADDG:0PX 20PX;BOX-SIZG:NTENT-BOX;FONT:17PX/25PX GEIA,SERIF;PADDG-LEFT:80PX;} P A, OL A, P A:VISED, OL A:VISED{LOR:#BA0600;-WEBK-TRANSN:0.3S ALL;TRANSN:0.3S ALL;-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} P A:HOVER, OL A:HOVER{-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} H1, H2, H3, H4, H5, H6{MAX-WIDTH:600PX;MARG:0PX TO;PADDG:0PX 20PX;BOX-SIZG:NTENT-BOX;MARG-TOP:1EM;MARG-BOTTOM:1EM;LOR:#7B1B18;}THE FIRST THG THAT YOU NOTICE WHEN WALKG TO CENTRAL SQUARE THEATER’S PRODUCTN OF “ANGELS AMERI: A GAY FANTASIA ON NATNAL THEM, PART I: MILLENNIUM APPROACH,” DIRECTED BY ERIC TUCKER, IS THE ETHEREAL EMPTS. THE THEATER IS TRANSFORMED TO A STARK SPACE FILLED WH WHE FLUORCENT LIGHT, WHICH NEVER DIMS. INSTEAD, ACTORS WALK ONSTAGE AND SUALLY BEG TALKG, AS IF THE STAGE IS THE SIWALK AND THE DIENCE HAS JT STOPPED BY. IN CENTRAL SQUARE’S STAGG, THE MOVERS AND SHAKERS OF THE CHARACTERS’ WORLDS ARE NOT UNSEEN HEAVENLY FORC, RELIG DOCTRE, OR EVEN ANGELS: THEY ARE EACH OTHER.SET NEW YORK CY BETWEEN 1985 AND 1986, “ANGELS AMERI PART I: MILLENNIUM APPROACH” IS THE FIRST OF A TWO-PART EPIC BY TONY KHNER THAT FOLLOWS PRR WALTER, A GAY MAN WH AIDS; LOUIS IRONSON, HIS BOYIEND; ROY COHN, A GAY AND CLOSETED, UBER-NSERVATIVE, REPUBLIN LAWYER; JOE PT, A GAY AND CLOSETED, MORMON, REPUBLIN CLERK; AND HARPER, JOE’S WIFE. THE PLAY EXPLOR HOW THE CHARACTERS’ LIV TERTWE AND UNTANGLE, AND HOW, SPE IOLOGIL AND INTY DIFFERENC, THEY ARE ULTIMATELY SEPARABLE OM EACH OTHER.THE CHARACTERS’ MSY NNECTNS ARE HIGHLIGHTED BY EVOTIVE STAGG AND PROPS BY SCENIC DIGNER DEB SIVIGNY AND PROPS ARTISAN KARISSA ROBERTS. IN THE SEND SCENE OF THE PLAY, ROY COHN IS SEEMGLY NTROL, JUGGLG MULTIPLE PHON, WH THE WHOLE CY ON SPEED DIAL. HOWEVER, SKILLFUL PROP AND SET SIGN CHOIC REVEAL A EPER ELEMENT TO HIS CHARACTER. COHN SS ON A WHEELY OFFICE CHAIR, GIDDILY SPNG OUT TO ACTORS WH PHON FOR HIM TO GRAB. THE PHONE RDS, SPOOLG OUT LIKE OCTOP ARMS, SUGGT A SYMBSIS — A MSY PENNCY ON THE PEOPLE HE SPIS FOR BEG GAY, PROGRSIVE, AND LOWER CLASS. THROUGHOUT THE PLAY, THE RELATNSHIPS ARE RERCED THROUGH THE AGE OF THE PHON.THE PRODUCTN ALSO UTILIZ ATYPIL ATHETICS A WAY THAT’S IRONIC, TONGUE--CHEEK, AND CURRENT. BELIZE, A BLACK “EX-EX DRAG QUEEN,” ENTERS WEARG LEOPARD-PRT CHAPS, AND HIS OUTFS JT GET MORE FUN OM THERE. LOUIS IRONSON, A GAY JEWISH MAN WH A PENCHANT FOR GOG ON POLIL TANGENTS, IS EXACTLY THE KD OF CASTRO, WHE, LIBERAL GAY THAT’S JT ANNOYG ENOUGH TO PUT UP WH — EMPHASIZED BY HIS PREPPY CUFFED JEANS AND SNEAKERS. HARPER, A STRAIGHT, MORMON HOEWIFE AND VALIUM ADDICT WHO TO REALIZE THAT HER HBAND IS QUEER, IS DRSED JEWEL-TONED OVERALLS AND CONVERSE SNEAKERS, WHICH MAK HER LOOK MORE LIKE A YOUNG, NAIVE LLEGE STUNT THAN A HARRIED HOEWIFE. THE STUMG CHOIC BY DANIELE TYLER MATHEWS CREATE A DIVERSE ENSEMBLE ST THAT PLAY TO AND AGAST TYPE.THE PRODUCTN ALSO EXAM HOW QUEER BETY IS SEPARABLE OM TRAGEDY. IN ONE SCENE, PRR, WHO HAS BEEN RECENTLY DIAGNOSED WH AIDS, IS ALONE AT HOME, GETTG TO DRAG TO PE. HE HOP TO NEGATE SICKNS WH BETY, UNSIRABILY WH SIRABILY. HOWEVER, STEAD OF TRANSFORMG HIS FACE THROUGH MAKP OR FTOONG HIMSELF WH GLAMORO CLOTHG, PRR FASHNS A MAKHIFT DRS OM THE SAME WHE SHROUD THAT SERVED, VAR PARTS OF THE PLAY, AS A BURIAL SHROUD. IT ULD BE AN ALLN TO LADY LIBERTY, OR ULD BE JT A DRS. THE SIMPLICY OF THE MOMENT IS BOTH DIGNIFIED AND HEARTBREAKG: IN THE WORLD OF “ANGELS AMERI,” BETY IS NOT AN PE OM DISEASE AND ATH. INSTEAD, THEY ARE CUT OM THE SAME CLOTH.IN ADDN, BY JUXTAPOSG DIFFERENT SCEN OF MALE TIMACY THROUGH STAGG, THE PLAY EXPLOR THE WAYS THAT MEN ARE SOCIALLY ALLOWED TO SEEK OUT CLOSENS AND EMOTNAL HONTY. IN ONE SCENE, LOUIS, SEEKG PE, ABANDONS PRR AT THE HOSPAL AND GO CISG CENTRAL PARK. AT THE SAME TIME, ROY AND JOE HAVE A HEART-TO-HEART ABOUT FATHERHOOD OVER TUMBLERS OF WHISKEY. AS THE TWO SCEN UNFOLD AROUND EACH OTHER — LOUIS ON THE GROUND HAVG SEX WH AN ANONYMO SEX WORKER AND, LS THAN A FOOT AWAY, ROY AND JOE MATG OVER WHAT MEANS TO BE A GOOD SON — THE DIENCE IS ASKED TO THK ABOUT HOW THE RELATNSHIPS MIGHT NOT BE SO DIFFERENT AFTER ALL.THE STAGG AND PROPS ALSO HIGHLIGHT HOW THE GHOSTS OF QUEER ATH AND NSERVATIVE BIGOTRY HNT THE PLAY. IN ONE SCENE, ROY AND HIS POLIL ALLY MART ARE HAVG DNER. WHILE CHATTG ABOUT HOW THEY WILL EVABLY SECURE REPUBLIN MAJORI AND PASS BILLS LIMG THE RIGHTS OF MARGALIZED GROUPS, ROY AND MART HOLD A WHE SHEET BETWEEN THEM AS A TABLE, WHICH HOVERS ABOVE THE GROUND. THEY DROP THE SHEET, WHICH FALLS, REVEALG THE NCEALED BODY OF PRR. THE DIENCE REALIZ THAT ROY AND MART ARE LERALLY TALKG OVER THE AD BODI OF MEN THEY HAVE KILLED. IN ANOTHER SCENE, AS ROY IMPLOR JOE TO JO HIM WASHGTON, D.C. TO SUPPORT PRINT RONALD REAGAN, ROY WALKS AMONG WHE SHEETS ON THE GROUND. THE TR LLS TO MD THE BODI OF QUEER PEOPLE WHO DIED DUE TO REAGAN’S POLICI AND ACTN. THE SIGN CHOIC SUBTLY PAY TRIBUTE TO OTHERS WHO ARE NOT FEATURED OR NAMED THE PLAY BUT STILL SUFFERED AND DIED DURG THE AIDS EPIMIC.LASTLY, THE PRODUCTN MAK E OF AN ASTONISHG REVEAL THE FAL SCEN TO SIGNAL THE ARRIVAL OF THE ANGEL. NOT TO SPOIL ANYTHG, BUT THAT REVEAL ALONE MAK THE PLAY WORTH SEEG. IF AN UTTER TRANSFORMATN OF THEATRIL SPACE IS WHAT YOU’RE LOOKG FOR, “ANGELS AMERI” AT CENTRAL SQUARE THEATER IS THE PLACE TO FD .—STAFF WRER SOPHIE H. KIM N BE REACHED AT {FONT-SIZE:16.5PX;LE-HEIGHT:26PX;BOX-SIZG:NTENT-BOX;MAX-WIDTH:600PX;PADDG:0PX 20PX;MARG:0PX TO;MARG:1EM TO;} A{LOR:#7B1B18;}WANT TO KEEP UP WH BREAKG NEWS? 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• ANDREW GARFIELD, QUEER-BAG AND THE PERILS OF 'PLAYG GAY'
• ANGELS AMERI: A GAY FANTASIA ON NATNAL THEM
• ANGELS AMERI: A GAY FANTASIA ON NATNAL THEM

‘ANGELS AMERI PART I’ REVIEW: A GHOSTLY SYMBSIS OF QUEER {GRID-ROW-START:2;GRID-LUMN-START:2;GRID-LUMN-END:3;}@MEDIA (MAX-WIDTH:950PX){{GRID-LUMN-START:1;GRID-LUMN-END:2;}}{MARG-BOTTOM:1EM;}{DISPLAY:BLOCK;MARG:0PX TO;MAX-WIDTH:640PX;Z-X:20;POSN:RELATIVE;} > DIV{BOX-SIZG:NTENT-BOX;PADDG:0PX 20PX;MARG:0PX TO;} > DIV.SHORT-LEFT{FLOAT:LEFT;} > DIV.SHORT-RIGHT{FLOAT:RIGHT;} > DIV.SHORT-SMALL{MAX-WIDTH:200PX;} > DIV.SHORT-MEDIUM{MAX-WIDTH:400PX;} > DIV.SHORT-LARGE{MAX-WIDTH:600PX;} > DIV.SHORT-XLARGE{MAX-WIDTH:1000PX;} > DIV.SHORT-FULLSCREEN{PADDG:0PX;}{WIDTH:100%;}{MAX-WIDTH:1000PX;MARG:5PX 0PX TO;FONT-FAY:'COLABORATE LIGHT','LUCIDA SANS UNI',SANS-SERIF;LOR:#777;FONT-SIZE:15PX;}THE ST OF ANGELS AMERI, PART 1 AT CENTRAL SQUARE THEATER IMG{PADDG-RIGHT:7PX;}BY {LOR:#BA0600;}COURTY OF NILE STT {BOX-SIZG:NTENT-BOX;MAX-WIDTH:600PX;PADDG:0PX 20PX;MARG:0PX TO;FONT-FAY:'COLABORATE LIGHT','LUCIDA SANS UNI',SANS-SERIF;MARG-BOTTOM:5PX;} A{LOR:#7B1B18;}BY SOPHIE H. KIM, CRIMSON STAFF {BOX-SIZG:NTENT-BOX;MAX-WIDTH:600PX;PADDG:0PX 20PX;MARG:0PX TO;}{DISPLAY:NONE;}@MEDIA (MAX-WIDTH:950PX){{BOX-SIZG:NTENT-BOX;MAX-WIDTH:600PX;PADDG:0PX 20PX;MARG:0PX TO;DISPLAY:BLOCK;PADDG-TOP:20PX;PADDG-BOTTOM:20PX;MARG-TOP:20PX;BORR-TOP:1PX SOLID #EBEBEB;BORR-BOTTOM:1PX SOLID #EBEBEB;}}{DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;-WEBK-FLEX-DIRECTN:LUMN;-MS-FLEX-DIRECTN:LUMN;FLEX-DIRECTN:LUMN;WIDTH:TO;-WEBK-ALIGN-EMS:CENTER;-WEBK-BOX-ALIGN:CENTER;-MS-FLEX-ALIGN:CENTER;ALIGN-EMS:CENTER;POSN:-WEBK-STICKY;POSN:STICKY;TOP:70PX;-WEBK-FLEX-DIRECTN:ROW;-MS-FLEX-DIRECTN:ROW;FLEX-DIRECTN:ROW;-WEBK-BOX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;-MS-FLEX-PACK:CENTER;JTIFY-NTENT:CENTER;POSN:UNSET;} {DISPLAY:LE-BLOCK;PADDG:0PX;} > SPAN{WIDTH:35PX !IMPORTANT;HEIGHT:35PX !IMPORTANT;TEXT-ALIGN:CENTER;BORR-RADI:50%;} SVG{WIDTH:25PX !IMPORTANT;HEIGHT:35PX !IMPORTANT;} .ADDTHIS_BUTTON_EMAIL > SPAN, .ADDTHIS_BUTTON_PRT > SPAN, .ADDTHIS_BUTTON_LK > SPAN{BACKGROUND-LOR:#EBEBEB !IMPORTANT;} .ADDTHIS_UNTER .ADDTHIS_BUTTON_EXPAND{WIDTH:35PX;HEIGHT:35PX;MARG:0PX;PADDG:0PX;BACKGROUND:NONE;TEXT-ALIGN:CENTER;BORR:1PX SOLID #EBEBEB;BORR-RADI:50%;LOR:#EBEBEB !IMPORTANT;} .ADDTHIS_BUTTON_PACT{DISPLAY:NONE !IMPORTANT;} {MARG:0PX 5PX;}{POSN:RELATIVE;WIDTH:100%;} P{MAX-WIDTH:600PX;MARG:0PX TO;PADDG:0PX 20PX;BOX-SIZG:NTENT-BOX;FONT:17PX/25PX GEIA,SERIF;MARG-TOP:1EM;MARG-BOTTOM:1EM;} OL{MAX-WIDTH:600PX;MARG:0PX TO;PADDG:0PX 20PX;BOX-SIZG:NTENT-BOX;FONT:17PX/25PX GEIA,SERIF;PADDG-LEFT:80PX;} P A, OL A, P A:VISED, OL A:VISED{LOR:#BA0600;-WEBK-TRANSN:0.3S ALL;TRANSN:0.3S ALL;-WEBK-TEXT-RATN:NONE;TEXT-RATN:NONE;} P A:HOVER, OL A:HOVER{-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;} H1, H2, H3, H4, H5, H6{MAX-WIDTH:600PX;MARG:0PX TO;PADDG:0PX 20PX;BOX-SIZG:NTENT-BOX;MARG-TOP:1EM;MARG-BOTTOM:1EM;LOR:#7B1B18;}THE FIRST THG THAT YOU NOTICE WHEN WALKG TO CENTRAL SQUARE THEATER’S PRODUCTN OF “ANGELS AMERI: A GAY FANTASIA ON NATNAL THEM, PART I: MILLENNIUM APPROACH,” DIRECTED BY ERIC TUCKER, IS THE ETHEREAL EMPTS. THE THEATER IS TRANSFORMED TO A STARK SPACE FILLED WH WHE FLUORCENT LIGHT, WHICH NEVER DIMS. INSTEAD, ACTORS WALK ONSTAGE AND SUALLY BEG TALKG, AS IF THE STAGE IS THE SIWALK AND THE DIENCE HAS JT STOPPED BY. IN CENTRAL SQUARE’S STAGG, THE MOVERS AND SHAKERS OF THE CHARACTERS’ WORLDS ARE NOT UNSEEN HEAVENLY FORC, RELIG DOCTRE, OR EVEN ANGELS: THEY ARE EACH OTHER.SET NEW YORK CY BETWEEN 1985 AND 1986, “ANGELS AMERI PART I: MILLENNIUM APPROACH” IS THE FIRST OF A TWO-PART EPIC BY TONY KHNER THAT FOLLOWS PRR WALTER, A GAY MAN WH AIDS; LOUIS IRONSON, HIS BOYIEND; ROY COHN, A GAY AND CLOSETED, UBER-NSERVATIVE, REPUBLIN LAWYER; JOE PT, A GAY AND CLOSETED, MORMON, REPUBLIN CLERK; AND HARPER, JOE’S WIFE. THE PLAY EXPLOR HOW THE CHARACTERS’ LIV TERTWE AND UNTANGLE, AND HOW, SPE IOLOGIL AND INTY DIFFERENC, THEY ARE ULTIMATELY SEPARABLE OM EACH OTHER.THE CHARACTERS’ MSY NNECTNS ARE HIGHLIGHTED BY EVOTIVE STAGG AND PROPS BY SCENIC DIGNER DEB SIVIGNY AND PROPS ARTISAN KARISSA ROBERTS. IN THE SEND SCENE OF THE PLAY, ROY COHN IS SEEMGLY NTROL, JUGGLG MULTIPLE PHON, WH THE WHOLE CY ON SPEED DIAL. HOWEVER, SKILLFUL PROP AND SET SIGN CHOIC REVEAL A EPER ELEMENT TO HIS CHARACTER. COHN SS ON A WHEELY OFFICE CHAIR, GIDDILY SPNG OUT TO ACTORS WH PHON FOR HIM TO GRAB. THE PHONE RDS, SPOOLG OUT LIKE OCTOP ARMS, SUGGT A SYMBSIS — A MSY PENNCY ON THE PEOPLE HE SPIS FOR BEG GAY, PROGRSIVE, AND LOWER CLASS. THROUGHOUT THE PLAY, THE RELATNSHIPS ARE RERCED THROUGH THE AGE OF THE PHON.THE PRODUCTN ALSO UTILIZ ATYPIL ATHETICS A WAY THAT’S IRONIC, TONGUE--CHEEK, AND CURRENT. BELIZE, A BLACK “EX-EX DRAG QUEEN,” ENTERS WEARG LEOPARD-PRT CHAPS, AND HIS OUTFS JT GET MORE FUN OM THERE. LOUIS IRONSON, A GAY JEWISH MAN WH A PENCHANT FOR GOG ON POLIL TANGENTS, IS EXACTLY THE KD OF CASTRO, WHE, LIBERAL GAY THAT’S JT ANNOYG ENOUGH TO PUT UP WH — EMPHASIZED BY HIS PREPPY CUFFED JEANS AND SNEAKERS. HARPER, A STRAIGHT, MORMON HOEWIFE AND VALIUM ADDICT WHO TO REALIZE THAT HER HBAND IS QUEER, IS DRSED JEWEL-TONED OVERALLS AND CONVERSE SNEAKERS, WHICH MAK HER LOOK MORE LIKE A YOUNG, NAIVE LLEGE STUNT THAN A HARRIED HOEWIFE. THE STUMG CHOIC BY DANIELE TYLER MATHEWS CREATE A DIVERSE ENSEMBLE ST THAT PLAY TO AND AGAST TYPE.THE PRODUCTN ALSO EXAM HOW QUEER BETY IS SEPARABLE OM TRAGEDY. IN ONE SCENE, PRR, WHO HAS BEEN RECENTLY DIAGNOSED WH AIDS, IS ALONE AT HOME, GETTG TO DRAG TO PE. HE HOP TO NEGATE SICKNS WH BETY, UNSIRABILY WH SIRABILY. HOWEVER, STEAD OF TRANSFORMG HIS FACE THROUGH MAKP OR FTOONG HIMSELF WH GLAMORO CLOTHG, PRR FASHNS A MAKHIFT DRS OM THE SAME WHE SHROUD THAT SERVED, VAR PARTS OF THE PLAY, AS A BURIAL SHROUD. IT ULD BE AN ALLN TO LADY LIBERTY, OR ULD BE JT A DRS. THE SIMPLICY OF THE MOMENT IS BOTH DIGNIFIED AND HEARTBREAKG: IN THE WORLD OF “ANGELS AMERI,” BETY IS NOT AN PE OM DISEASE AND ATH. INSTEAD, THEY ARE CUT OM THE SAME CLOTH.IN ADDN, BY JUXTAPOSG DIFFERENT SCEN OF MALE TIMACY THROUGH STAGG, THE PLAY EXPLOR THE WAYS THAT MEN ARE SOCIALLY ALLOWED TO SEEK OUT CLOSENS AND EMOTNAL HONTY. IN ONE SCENE, LOUIS, SEEKG PE, ABANDONS PRR AT THE HOSPAL AND GO CISG CENTRAL PARK. AT THE SAME TIME, ROY AND JOE HAVE A HEART-TO-HEART ABOUT FATHERHOOD OVER TUMBLERS OF WHISKEY. AS THE TWO SCEN UNFOLD AROUND EACH OTHER — LOUIS ON THE GROUND HAVG SEX WH AN ANONYMO SEX WORKER AND, LS THAN A FOOT AWAY, ROY AND JOE MATG OVER WHAT MEANS TO BE A GOOD SON — THE DIENCE IS ASKED TO THK ABOUT HOW THE RELATNSHIPS MIGHT NOT BE SO DIFFERENT AFTER ALL.THE STAGG AND PROPS ALSO HIGHLIGHT HOW THE GHOSTS OF QUEER ATH AND NSERVATIVE BIGOTRY HNT THE PLAY. IN ONE SCENE, ROY AND HIS POLIL ALLY MART ARE HAVG DNER. WHILE CHATTG ABOUT HOW THEY WILL EVABLY SECURE REPUBLIN MAJORI AND PASS BILLS LIMG THE RIGHTS OF MARGALIZED GROUPS, ROY AND MART HOLD A WHE SHEET BETWEEN THEM AS A TABLE, WHICH HOVERS ABOVE THE GROUND. THEY DROP THE SHEET, WHICH FALLS, REVEALG THE NCEALED BODY OF PRR. THE DIENCE REALIZ THAT ROY AND MART ARE LERALLY TALKG OVER THE AD BODI OF MEN THEY HAVE KILLED. IN ANOTHER SCENE, AS ROY IMPLOR JOE TO JO HIM WASHGTON, D.C. TO SUPPORT PRINT RONALD REAGAN, ROY WALKS AMONG WHE SHEETS ON THE GROUND. THE TR LLS TO MD THE BODI OF QUEER PEOPLE WHO DIED DUE TO REAGAN’S POLICI AND ACTN. THE SIGN CHOIC SUBTLY PAY TRIBUTE TO OTHERS WHO ARE NOT FEATURED OR NAMED THE PLAY BUT STILL SUFFERED AND DIED DURG THE AIDS EPIMIC.LASTLY, THE PRODUCTN MAK E OF AN ASTONISHG REVEAL THE FAL SCEN TO SIGNAL THE ARRIVAL OF THE ANGEL. NOT TO SPOIL ANYTHG, BUT THAT REVEAL ALONE MAK THE PLAY WORTH SEEG. IF AN UTTER TRANSFORMATN OF THEATRIL SPACE IS WHAT YOU’RE LOOKG FOR, “ANGELS AMERI” AT CENTRAL SQUARE THEATER IS THE PLACE TO FD .—STAFF WRER SOPHIE H. KIM N BE REACHED AT {FONT-SIZE:16.5PX;LE-HEIGHT:26PX;BOX-SIZG:NTENT-BOX;MAX-WIDTH:600PX;PADDG:0PX 20PX;MARG:0PX TO;MARG:1EM TO;} A{LOR:#7B1B18;}WANT TO KEEP UP WH BREAKG NEWS? 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The first thg that you notice when walkg to Central Square Theater’s productn of “Angels Ameri: A Gay Fantasia on Natnal Them, Part I: Millennium Approach, ” directed by Eric Tucker, is the ethereal empts. In Central Square’s stagg, the movers and shakers of the characters’ worlds are not unseen heavenly forc, relig doctre, or even angels: They are each New York Cy between 1985 and 1986, “Angels Ameri Part I: Millennium Approach” is the first of a two-part epic by Tony Khner that follows Prr Walter, a gay man wh AIDS; Louis Ironson, his boyiend; Roy Cohn, a gay and closeted, uber-nservative, Republin lawyer; Joe Pt, a gay and closeted, Mormon, Republin clerk; and Harper, Joe’s wife.

The phone rds, spoolg out like octop arms, suggt a symbsis — a msy penncy on the people he spis for beg gay, progrsive, and lower class. Louis Ironson, a gay Jewish man wh a penchant for gog on polil tangents, is exactly the kd of Castro, whe, liberal gay that’s jt annoyg enough to put up wh — emphasized by his preppy cuffed jeans and sneakers. “”Angels Ameri: A Gay Fantasia on Natnal Them” is an award-wng play by Tony Khner, wh both Part I and Part II takg the Tony Award for Bt Play and Part I wng the Pulzer Prize for Drama.

Wh an plex tertwed story told via an ensemble st, the play poetilly ptur the polil and social atmosphere of AIDS and Homosexualy Ameri durg the 1980’s. Two big qutns surround this revival of Tony Khner’s epic, two-part “gay fantasia on natnal them”, which is betifully staged by Marianne Elltt and boasts a starry st head by Nathan Lane and Andrew do the two plays jtify their formidable eight-hour length?

ANDREW GARFIELD, QUEER-BAG AND THE PERILS OF 'PLAYG GAY'

The answer is, a b of the tighter, tter first play, Millennium Approach, Khner certaly ptur the fear and uncertaty ed by the Aids crisis: this is 1985, and many of the characters are a state of sexual most vividly drawn is the power-brokg lawyer, Roy Cohn, who rejects the label of homosexual on the grounds that they are men who have “zero clout”. Prejudice and homophobia still exist but, watchg the first play, one is remd how much has changed sce was wrten terms of gay rights, sexual openns and HIV-ttg. Angels Ameri: A Gay Fantasia on Natnal Them is at the Natnal Theatre, London, until 19 Augt.

I didn’t yet clearly unrstand I was gay, but I was often cisg for thgs that were kda gay though not too gay.

I didn’t get to see Angels dramatized until Mike Nichols’ 2003 HBO film, a year which my father died, I fally unrstood myself to be gay, and I sought guidance om angels more than ever. And while Angels don’t purport to be history as such — s subtle is “a gay fantasia on natnal them, ” after all — has an outsize cultural role how Amerins image AIDS as Gone Wh the Wd had for antebellum slavery and Black Panther has recently had for imagg this reason, ’s important to ask who gets to tell mastream AIDS stori Ameri, and to nsir why this one — about whe, gay men who don’t really engage any polil ristance — keeps gettg retold. Deep to Part Two: Pertroika, Prr acknowledg this: “There are thoands of gay men New York Cy wh AIDS and nearly every one of them is beg taken re of by or by...

ANGELS AMERI: A GAY FANTASIA ON NATNAL THEM

” But weirdly, we don’t see this, nor any form of queer polil ristance happeng the Ameri of Angels, for Khner subjects to gay abandonment and straight what’s really unfivable are Angel’s racial polics.

Wolfe, said that “Belize was as smart and had jt as aggrsive a gree of tellectual rigor as Louis did, ” which was “important to me, bee I didn’t jt want a black gay clown.

ANGELS AMERI: A GAY FANTASIA ON NATNAL THEM

Angels Ameri giv the imprsn that black Amerin queerns only exists relatn to whe, gay this reprentatn is egreg, given how HIV/AIDS disproportnately slghtered — and ntu to slghter — black people Ameri.

He was angry at me about beg gay, and then this black man showed up and said, ‘I am the Black Other.

Narrativ about gay rights that have been embraced recent years — the Broadway productn and HBO film of Larry Kramer’s The Normal Heart, the many stage productns and HBO film of The Laramie Project (which I crewed on), HBO’s The Case Agast 8, and the entire How to Survive a Plague anchise — all center whe, gay men like Angels do.