Angels in America

Widely acclaimed as one of the defining works of 20th century drama, it's clear why Tony Kushner's epic, multi-award winning play of the early 1990s has attracted such forces to this revival. With an exceptional cast, including Olivier Award-winner Greg Hicks, this joint production directed by Daniel Kramer certainly reaffirms the stature of what is an immense work.

Set in New York in 1985, it follows the disintegration of two supposed romantic partnerships in the shadow of a seeming apocalypse of many parts: the gathering AIDS epidemic; the looming millennium; capitalism; a hole in the ozone layer and the dark face of individualism.

Prior Walter, diagnosed with AIDS, and Belize, his former drag-queen lover, tackle his sickness with real guts and hilarious humour. Roy Cohn, based on the crooked real-life McCarthy lawyer of the same name, lives on his potent clout and toughness, believing that his own 'oppression' is best avoided by self-delusion and oppressing others, rather than showing solidarity.

Harper, a hallucinating valium-indulgent Mormon housewife, knows all too well what is real. Prior's lover Louis stumbles about confused and scared, with useless guilt and fairly useless abstracted political feeling. Judge's clerk Joe seems to have mainly done what he is told, be it by person or rule-book. And there are more characters real and imagined, and angels too, whichever they may be.

Kushner has cast his net wide, glancing back to the McCarthy era and lunging forward, perhaps not too far, to the end of life itself. This is a work of sharp truth and great humour, both dark and uplifting, politically stirring and emotionally resonant.

Some seven and a half hours in total, Angels is a work of two parts - to be seen over two nights or one full afternoon and evening. Its sheer scale could intimidate even the most enthusiastic theatre-goers, but apprehensions about its length are certainly not necessary. Deeply rich, the work is so well-paced, with frequent changes of mood, tempo and style - and here receives such an accomplished performance by an outstanding cast - that its length is not ever an issue.

The play advances through distinct but overlapping storylines and groups of characters, cutting from vivid fantasy to real drama both high and measured, and revelling in moments of absolute theatricality. Therein lies menace, frustration, longing, heartbreak, political grappling, penetrating truths, sublime humour, hope and a real celebration of life.

This is a truly expansive and wonderful work: do not miss it.