Riverwalk Theatre’s ‘Angels in America’ is a tour de force

“Angels in America” is a powerful, moving and sometimes shocking play about the dawning of the AIDS crisis and requires skilled hands and a very talented cast to successfully produce. The Riverwalk Theatre production, which runs through this weekend, kept me enthralled, fascinated and looking forward to the end of both intermissions to get back to see the rest of the show.

The acting must be excellent, the direction assured and the production well supported by the tech department. The play features stunning visuals and an iconic ending that can be difficult to adequately reproduce. I have seen several productions that seemed even longer than the two-and-a-half-hour running time. Not this one.

Director Bob Robinson expertly guides this production, which is efficient and polished from top to bottom. The scene changes are smooth and purposeful, the pacing is excellent, the plot remains clear, the actors and crew are well rehearsed, and the play is very well cast. This very difficult piece features many appropriate changes in tone and style. Kudos to Robinson for an excellent production overall.

The sparse yet smoothly crafted set hides some complexities that speed up the scene changes. I was surprised at how well a relatively simple light plot was able to reflect the tone of the show with some very effective wash lighting.

Special effects are nicely done, and the sound is well managed. Amanda Macomber’s costumes capture and illustrate the era of the play, the ‘80s, and Macomber even found an authentic Members Only jacket that brought a manly tear of joy to my old eyes.

If I were to give a plot synopsis here, it would have to be done in weekly installments, so I will trust that interested readers who are unfamiliar with the story can find adequate resources online and not rely on this review to give them a thumbnail sketch of an epic. Suffice to say the subject matter is often challenging, the play could be considered controversial, and the characters are a very complex and human mixture of poor choices and selfishness as well as compassion and even transcendence.

Speaking of transcendence, the performances provided here all qualify. From the demanding lead roles to the supporting and featured players, this production is beautifully served by its very talented cast.

Luka Pawsek (Prior Walter) has had a string of memorable performances in the last season, but his execution here is truly a revelation. He wrings out every one of Walter’s highs and lows and always makes interesting and unpredictable choices. His acting is sensitive and honest. After this outstanding effort, one wonders what could be next for this dynamic, vulnerable and flexible performer.

Heath Sartorius (Louis Ironson) provides a complex and fascinating performance playing a character who is in many ways unlikeable and possibly unforgivable. He’s fearless in exploring the depth required to play his role. Joe Clark (Roy Cohn) is aggressive and calculating, Sally Hecksel (Harper Pitt) finds the beauty in being lost in a haze of madness and pills, Jordan Taylor is nicely understated and cool as the voice of reason (Belize), a friend and confidant, and Ben Cassidy (Joseph Porter Pitt) effectively illustrates the confusion and struggle of his conflicted character. Doak Bloss can almost be taken for granted because of his countless memorable performances, and he continues his sustained excellence here. The entire rest of the cast is entertaining and interesting due to their strong characterizations, and the play never gets slow or self-indulgent.

Riverwalk Theatre has long been successful at blurring the lines between amateur and professional theater, and here they have outdone themselves.