Michael Cox reviews a production that ‘works remarkably well’.
Tony Kushner’s Angels in America is arguably the most influential play to come out of the United States over the last few decades. Called ‘a Gay Fantasia’ when it first premiered in the 90s, the play—written in two parts—is a highly ambitious combination of themes, genres and conventions.
What might be most surprising is how relevant Kushner’s play is in 2026.
Set in New York in the mid-80s, the narrative follows a few plot threads that entwine, twist, pull apart and then mesh again. Prior Walter has discovered he has tested positive for the new ‘plague’ that has crept into the gay community—his lover Louis struggles to stay and be supportive. Joe and Harper Pitt—a recently married Morman couple—are in crisis: she with mental health issues, he with his sexuality. Meanwhile, Roy Cohn, a closeted Washington powerbroker, is intent on shoring up his legacy as he is facing both disbarment and his own diagnosis of AIDS.
The play is usually presented in two parts with epic design concepts and special effects. And yet director Ivo van Hove, usually known for highly stylised productions that lean into spectacle, has created a slimmed version: more than 90 minutes has been cut, resulting in a production that relies on Kushner’s words and a playlist that consists of ambiance and David Bowie bangers.
And it works remarkably well.
There is much to praise with this production: it’s excellent cast of eight and Hove’s direction indeed stand out and consistently impress. But it might be the work of Carel Alphenaar (translator) and Peter van Kraaij (adaptation and dramaturgy) that really shine. By honing on the political, the characters bring a frightening juxtaposition of politics between Regan’s 1980s and Trump’s 2020s. And yet, with its themes and political targets, the production also frequently leans into comedy—serious things happen, but jokes and humour constantly pepper the journey.
Which all comes to the one slight flaw—it’s a bit too pared back. By focusing on the political and leaving out some of the fantastical, the grandness of Kushner’s world is sometimes missing, particularly with the absence of an overwhelming supernatural element in key moments. However, those who don’t know the play won’t miss the cut material—the plot and character arcs are clear from beginning to end, even if some of the play’s most ambitious moments are muted or fully omitted.
Still, it’s rare to see this seminal play in performance, particularly as one go. Audiences in Edinburgh should absolutely jump at the chance to see it.
Angels in America is part of this year’s Edinburgh International Festival and performs at the King’s Theatre until 20 August 2026. For further details, go to EIF’s website.
Photo by Jess Shurte.
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