Tony Kushner is taken to task from time to time for his harsh treatment of Joe Pitts, the closeted, Republican, Mormon lawyer whose self-hatred motivates so much of the plays’ drama (and poisons his marriage to Harper). Those critics must ignore this passage, which is among the most beautiful and heartbreaking Kushner has written. It’s been at the very back of my mind for nearly a week now but came front and center earlier this evening.
“Although he refused the mechanical determinism of the unthinking Marxist left, he created in his greatest play a drama in which it is impossible to avoid thinking about economics–money–in any attempt to render coherent the human tragedy unfolding before you.”
“It’s not as if all preachers, including for instance John Donne, were merely dispensers of predigested, soundbite rhetoric and cliche; good preachers are gifted articulators of the thorniest, juiciest, most dangerous, most contradictory problems, dilemmas, controversies.” — Tony Kushner
Jun 6, 2004
For your reading pleasure: some snippets from Tony Kushner’s commentary on the Klezmatic’s recent CD, Possessed. Parts of the commentary, I noticed, have made their way into his and Alisa Solomon’s introduction to their new collection of essays, Wrestling with Zion.
My wife surprised me yesterday afternoon with the Angels in America soundtrack. “Quartet” accompanies the scene that holds the rare honor of having made me cry two nights in a row. What can I say? Art is my refuge from a life of hardened cynicism. I can only imagine what condition I’ll be in on Sunday night when Louis delivers the Kaddish.
I’m thrilled so far with Angels. Mary-Louise Parker is stealing the show as Harper, and Justin Kirk is fantastic as Prior. The homage to Cocteau and the casting of the prior Priors were both brilliant. But why, in their trimming and reshaping, did Kushner and Nichols have to cut my two favorite lines from Millennium Approaches?