The Use of Character, Irony and Ending in Angels in America by Tont Kushner

Embedded deep within American culture is a multitude of internalized subjects that, for a time, seemed to be tearing individuals apart; examples of these topics include religion, sexuality, race, gender, economic class, and more. Tony Kushner’s magnum opus, Angels in America: A Gay Fantasia on National Themes, throws all of these matters onto a stage, analyzes them, humanizes them, and ultimately brings his characters into a unified coexistence despite the forces keeping them apart. This unified coexistence, Kushner argues, is progress, and the audience grows to understand Kushner’s hypothesis: that progress can be achieved by the fundamental act of forgiveness. The play is set in the 1980s, one of the most divisive ages in American history, and contains characters who are forced to overcome this age of internalized irony in order for the world to survive chaos. The endings of both parts of the play are crucial to this idea, as they shape the actions of the play’s events into Kushner’s aforementioned thesis of progress and growth. The analysis of character in the age of irony and the importance of the ending parallel each other through the play before amalgamating in the epilogue. The final scene exhibits for the audience four characters (Prior, Louis, Belize, and Hannah) who specifically triumph over previously restrictive ironies and brings the activity of the play into summation in order to convey Kushner’s true point: individuals must keep the world in its state of “painful progress” by forgiving themselves and each other.

The 1980s: An Age of Irony

In order to discuss the importance of the triumph over irony, it is necessary to delve into the decade the play is set in: the 1980s, sometimes called the “Me Decade.” This era was characterized by consumerism, with the rise of the “yuppie” character and a cultural emphasis on flaunting wealth and status, seemingly supported by the economic policies of Ronald Reagan. It was an economically ironic time, with the rich becoming richer while the poor remained, if not more, impoverished. Thus, the country was in an economically polarized state, drawing the ire of many who recognized the inequality. Abroad, communism remained the perennial threat held over American capitalism, despite its apparent victory in parts of the American experience. Meanwhile, the discovery of AIDS in 1981 transformed national ambivalence toward homosexuality into a full-blown war between heterosexuals and homosexuals, thus further dividing the country. In summary, the 1980s was a decade marked by deepening rifts among various social groups. The characters of Angels in America confront these issues head-on and slowly discover that unity is the only way to survive what could potentially be the death of American society.

Character Analysis: Triumph Over Irony

Prior Walter is one of the many characters forced to face the irony within him in order to survive the time he lives in. He describes himself as a WASP, a societal group usually associated with heterosexuality, and he is so well-bred that his family can trace their lineage “back to the Norman Conquest…there’s a Prior Walter stitched into the Bayeux Tapestry” (Kushner I, 135). Despite this apparent social distinction, Prior unknowingly separates himself from it by living as a gay man, and even more so by living as a gay man with AIDS. His journey throughout the play exemplifies his struggle against this irony. In Millennium Approaches, the ravages of his disease, his heartbreak when Louis leaves him, and eventually his call from the Angel serve to isolate him from other aspects of his identity, such as his breeding and economic status. By the end of Perestroika, Prior emerges as a fighter, learning to cope with his disease and reconciling with Louis. His declaration, “Bless me anyway. I want more life. I can’t help myself. I do” (Kushner II, 135), encapsulates his acceptance of his inner contradictions and his desire to live, ultimately culminating in the epilogue.

Louis, a cappuccino intellectual, embodies irony in two significant aspects: his attraction to a closeted Republican and his disconnection from Judaism. His relationship with Joe illustrates that their differences create a paradox that they cannot resolve. Louis’ disconnection from his Jewish roots is symbolized by his admission regarding his grandmother, “I pretended for years that she was already dead…I abandoned her” (Kushner I, 24). Ultimately, Louis’ journey of reconciliation, which includes reciting the Kaddish for Roy Cohn, represents significant growth in his moral character, allowing him to confront the guilt he has long avoided.

Hannah’s presence in the play signifies rebirth. Initially seeking to “straighten out” her son, she inadvertently becomes the protector of Prior. The irony of her helping a homosexual, despite her initial views, contributes to her transformation. Her relationship with Prior catalyzes her acceptance of change, culminating in her encounter with the Angel. This evolution is further explored in the epilogue.

Belize stands apart from the other characters, as he navigates his identity as a black man and a gay man. His role as a nurse caring for Roy Cohn, despite their mutual animosity, emphasizes his resolve to heal others. Belize’s insistence that Louis recite the Kaddish for Roy underlines the theme of forgiveness, which is essential for mending societal rifts.

The Importance of the Ending

Kushner presents two scenes leading to the epilogue that signify the conclusion of the play. In the first scene, Prior awakens, and Nurse Emily exclaims, “Well look at this. It’s the dawn of man” (Kushner II, 139). This moment indicates that the characters have reached a turning point, allowing for societal rebuilding. Harper’s journey to San Francisco symbolizes the inevitable progress humanity must embrace. Neither scene fully depicts the ideal society Kushner envisions, making the epilogue necessary to encapsulate his argument.

The epilogue occurs in January 1990, a pivotal moment in world history. Louis remarks, “The Berlin Wall has fallen. The Ceausescu’s are out. He’s building democratic socialism” (Kushner II, 145). This reflects Kushner’s belief that the 1980s were characterized by stagnation. The characters have progressed, and the epilogue signifies a new era, with Prior affirming, “We’re not rocks—progress, migration, motion is…modernity” (Kushner II, 132). This embrace of change marks the beginning of a new world.

Conclusion: Forgiveness and Progress

The epilogue serves as the culmination of the play’s themes. Prior, Louis, Hannah, and Belize come together at Bethesda Fountain, symbolizing the healing of societal divides. Each character has undergone significant growth, embodying the message of forgiveness. Prior’s proclamation, “More life,” resonates as a call to the audience to embrace progress and acceptance.

In conclusion, Kushner’s exploration of character, irony, and the significance of the ending in Angels in America highlights the necessity of forgiveness for societal healing. The play serves as a poignant reminder that the journey toward progress is ongoing, and the audience is left with the imperative to carry forward the message of acceptance and unity.

References:

• Kushner, Tony. Angels in America: A Gay Fantasia on National Themes. Theatre Communications Group, 1993.