Despite having “America” in its title, Tony Kushner’s Angels in America owes a fair amount of its early development—and its high early profile—to Britain’s National Theatre. And as its first Broadway revival readies its opening in March, almost exactly 25 years since its original Main Stem run, it seems oddly fitting that this new production also comes from the National Theatre. This seems a fitting point to reflect on the trans-Atlantic theatrical exchange that forms an integral part of the history of this most American of plays, and in so doing reflect on the act of revival, theatrical history, and the art of theatrical progress.
Almost a week ago now, Prior Walter bid the Lyttleton theatre ‘More Life’ one last time. Twenty-four years earlier it had opened next door in the Cottesloe. And some 14 or so years earlier they Angel first crashed into my life. Since then it’s been a labour of love, of 100, 000 words of PhD thesis and thousands more words in blog posts, message board comments, emails, tweets and arguments with wanker academics who obviously know better. And finally, this year, hours of conversation with my favourite director, hours of talking to an audience at the NT, kind words with the cast (and hugs!) and words committed to the programme. It’s been one hell of a ride, it hasn’t always been easy, but finally all the work to this point feels worth it.
I keep coming back to Harper’s final monologue, ‘In this world there is a kind of painful progress, a longing for what’s left behind, and dreaming ahead.’ And as much as I’m already longing for it what this production also gave me is a chance to dream ahead again. To that end people keep asking if I’m sad or broken. And I have to keep saying no, I’m incredibly happy. Happy that it happened, that I was a part of it, and that I got back a thing that I loved. Like Harper’s ‘souls rising’ towards the ozone layer, I feel like I absorbed this production, and was repaired. And like Harper, I am finally after what feels like an eternity stuck in a far less fun place than a Valium induced daydream, I’m finally dreaming ahead again.
A lot of people do wonder why this play means so much. Honestly there’s no easy way to answer other than to explain how it’s woven into the fabric of my life. From not to over-romanticise, a snowy night in Montreal, where we rented the DVDs because we didn’t have a TV that worked. To that film becoming one of those ‘comfort blanket’ films you watch over and over again. I don’t remember exactly when I then read the play, but it must have been around then. I was 19, living 1000s of miles from home, my Father had either just died or was about to die, it doesn’t take the world’s greatest psychiatrist to work out that Kushner’s big sprawling play of love, loss and politics was something that would speak to me. But, the bigger themes and ideas washed over me at first, who knows how many times, but it was the characters, the humanity of the piece I latched onto.
Flash forward ten years, and I’m meeting a friend who I speak to every single day, who lives on the other side of the world to walk to the Bethesda Fountain, because it’s our ‘favourite place in the park’ because we only know each other because of this play. Leap to another moment and I’m throwing coins in that fountain the first time I went there after finishing my PhD. I greet her as Prior does in the film, an involuntary tic by now. Another time I’m telling someone ‘That was an editorial you’ mid-argument, insisting that ‘the world only spins forward’ or unable to hold in a smile if someone mentions a night flight to San Francisco. In short, this play like Prior’s Prophecy, is in me.
I spent years wrestling with the PhD, much like that Angel. Creating versions of it out of archive dust and still absorbing it. Learning every scene, in every version (thanks Tony!) by heart and backwards. Fighting for it, fighting against PhD supervisors who couldn’t, wouldn’t see its value. Who wouldn’t even read this thing that I loved so dearly. Being told by academics this thing I’d written wasn’t good enough, that nobody cared, that I wasn’t good enough. The fierce love of it dragged it through the PhD, but I had nothing left at the end of it. I don’t remember consciously falling out of love with it, I just feel like it was somewhere in a dusty cupboard in my mind. I had the confidence, but more importantly the love of it all beaten out of me by academia. I lost it and I barely noticed, I was so tired.
“Oh how I hate Heaven, but I’ve got no resistance left. Except to run.”
And so, I ran, retreated into failure rejected that part of my life. And tried to become someone else. I let myself forget the thing I love, because I had to in order to stay sane. Lose the passion, because I got knocked back, knocked out by academia and theatre so many times, I had no choice but to run and preserve myself. Angels and the rest of it had become a part of an old life, and an old me.
And somewhere…somehow…on the bank of the Thames in that concrete bunker…I started to find it again.
There are of course wonderful special things about the production that will stay with me- some big some small. Some a part of it, some little quirks I noticed on seeing it multiple times (the time Andrew Garfield accidentally threw his sunglasses at James McArdle, but styled it in real Prior Walter style is a great one). If someone asks me in 10 years what was the thing I remember I’ll probably say: The Angel, Snow, Rain Machine, House Lights. Those specifics are for another blog, just snapshots of what I loved, what made it special for me. Those actors, what can I say about those actors? That while Andrew Garfield seemed to grow into Prior over the run, that James McArdle flipped what Louis is on its head, that Nathan Stewart Jarret was just too damn perfect, that Denise Gough ripped out her heart and the audience’s every night and the Susan Brown was doing quietly brilliant work. All of it has, and will be catalogued in different ways. That’s not what this is about.
But all that aside, at different points in the performance, the run I have sat open mouthed in awe, laughed so deeply, sobbed to the point I squeaked, walked out of a theatre shaking so much I had to sit down and smiled with such joy that I thought I could do anything- ‘More Life’ indeed Tony. Something odd happened in the last performance that I’ve never personally experienced- due to always seeing it in ‘analytical’ mode- I was just swept away in Prior’s story, I’ve never been so completely ‘with’ him watching it, always some jigsaw puzzle of theatrical analysis. But for eight hours, for the first time I just sat and lived it. It was like someone giving you a gift of the thing you missed most in the world.
This production snuck in and re-wrote what I thought I knew. There are so many thoughts to write on how why, and who in that equation and again, I’m not being artistically or academically blind, I can and at some point, will have critical thoughts (in the ‘editorial’ use of the word critical). But stepping aside from that, in the most honest way, who care when a production gives you magic. As much as I could, and will dissect performance choices and staging and set ultimately these are so insignificant in the personal sense.
“But still….bless me anyway”
Because I don’t want to talk here of imperfections and choices and things others would do differently. I’m capable of doing that but right now I say ‘Bless me anyway’ the spirit of that line is ‘so what, keep going anyway.’ This was ultimately “My” production, the version of the play I will forever keep in my heart. And in the end, isn’t that what matters? The works that change us, not the ones that are technically, artistically brilliant (though this one is both) but it’s the ones that latch onto a part of our soul and refuse to let go.
And that’s why, when Andrew Garfield/Prior stood and declared ‘More Life’ at the final performance, I didn’t crumple and cry I soared with joy. I was on my feel celebrating what they had achieved over the run, but also what had happened to me. And in all this, I kind of feel, and hope that indirectly that’s what Kushner had intended for all of us; change in whatever form. The real purpose of Kushner’s play, after the eight hours of emotional labour, is to push us as an audience out in the world to make that ‘Great Work’. We can’t do that if we are left in despair, if we feel it was all for nothing. For Prior’s innovation to the audience to work we must be propelled forward with a sense of purpose. And for me, finding that purpose again that I thought I’d lost. My love for it, and over that last year a little bit more of who I was.
The day the revival was announced I was sitting at my desk, in possibly the worst job I have ever had (which frankly, is saying something). Sitting in that office, I was in the worst place imaginable (I mean literally, it was in Pontypridd…). I’d finished my PhD after disaster upon disaster, I’d taken a job in research support after knowing I’d always fail to get an academic job. I hated that job. My colleagues hated me. And I felt like the biggest failure. All that work, all the years of trying all for nothing. And to go from having such passion for my work, to feeling like nothing would ever matter again, and that there was no point to any of it. In my flurry of twitter excitement, I half-jokingly said ‘Do you think they want some help’ to which a friend (to whom I’m very grateful) said ‘No seriously, email Elliot’s agent’. I’m grateful to that friend (I introduced her to Elliot on closing night so I feel my debt is repaid) But most of all I’m so grateful to Marianne herself, for not ignoring that email when it made its way to her.
I set myself four ‘secrets dreams’ when I heard Angels was coming back: I wanted to give research to the production, I wanted to sit in on a rehearsal, I wanted to run an education event and I wanted to write something for the programme. I honestly thought I didn’t stand a chance. If I got 2 out of 4 it would be something. I got all four. Another story, Hugh Jackman is the reason I got into musical theatre and AIDS theatre (don’t ask) there’s a story of how he asked his Mum to take a picture outside the National Theatre, saying ‘I’ll work there one day.’ And he did. I did the same thing, about 10 years ago. It might have only been for a blink of an eye. But it’s a damn good start. Likewise, my 4 things might be a drop in the ocean. But it’s a damn good start. Sheer force of will and tenacity played a part, but for once, for once in my life I went after something and I damn well got it.
Having spent nearly a decade being knocked back from everything I tried- from theatre, to academia and back again I can’t begin to articulate what it’s like to have someone finally, finally listen to you. Of course, when that someone also happens to be one of the best theatre directors in the country…well even I in my most Louis-esque verbal incontinence don’t actually have words for that. The point (the point dear the point) being that someone finally looked at me and said ‘Yes, you do have something to contribute’ it’s that simple. Instead of knocking me back, knocking me down, criticising, dismissing, taking someone else whose face fit better or the million other reasons there might be, someone finally listened. And even more importantly for myself, I proved myself. If I’d sent that email and been utterly appalling, a complete charlatan who really knew nothing I’d have deserved to get laughed right out of the National Theatre foyer. Instead, I picked myself up went in there and showed what I could do.
In part, all of this has been about getting that external validation. Of course, of course that Marianne Elliot and Andrew Garfield said how much they loved something I wrote and that I helped them create this…thing…of course that means the world. To look at that stage and think, a tiny tiny microbe of that came from me. Of course, I’m proud. But it’s more than that. In having people who know what they’re talking about say that you make a valuable contribution, after being so beaten down, so discouraged and having every last ounce of confidence drained from me. Even given my Kushner-esque powers of sheer volume of writing, I don’t think I can find the words. Except to say thank you, which is, to quote Prior ‘So much not enough’.
“I’m almost done”
It’s not just these ‘important’ people, it’s all of the people- all of you out there reading this (if you’ve got this far) it’s every single tweet complimenting my programme essay, every question anyone asked me- every one of you who came up to me in the NT foyer. I don’t know how to explain how much I thought the work I had done was nothing, and by association, that I was nothing. To find people interested, in the thing, and what I’ve got to say about the thing. And not just the compliments (though those are nice!) but the finding likeminded people, who want to talk and share this thing (ok and share amusing pictures of the cast with me). In getting this play back, I no longer feel like the werido alone in the corner, liking the play that you dare not mention because it’s weird and about AIDS and gay people and your office colleagues will laugh and talk about you behind your back. I found what theatre is supposed to give you: community.
So, to anyone, and everyone who stopped and said what I spent four years of my life working on was worth it, meant something, from Andrew Garfield, to old friends, anonymous online visitors and new friends:
“You are fabulous creatures, each and every one.”
And what now? It’s hard not to let doubt creep in and think ‘this was a one off that’s it now’. But as Harper says, ‘nothing’s lost forever’ and there’s work to do with a renewed sense of …something. I’ve a book to write at last on Angels, and I feel I can finally do that. And I’ve got my love and drive for theatre back. And I have to believe that this is just the start of…something. My academic career might have ended, but maybe all of that was for something else.
“In this world, there is a kind of painful progress. Longing for what we’ve left behind. And dreaming ahead. At least I think that’s so.”