“PERESTROIKA is not only a stunning resolution of the rending human drama of MILLENIUM APPROACHES, but also a true millennial work of art, uplifting, hugely comic and pantheistically religious in a very American style.” —Frank Rich, New York Times
“Playful and profound, extravagantly theatrical and deeply spiritual, witty and compassionate, furious and incredibly smart … It’s impossible to imagine anyone captivated by the beginning not wanting — needing — to go back for the end.” —Linda Winer, Newsday
“ANGELS IN AMERICA is a monumental achievement, the work of a defiantly theatrical imagination that has no parallel on television or in the movies. It ennobles Broadway as no other work in recent memory has.” —Jeremy Gerard, Variety
“Not since Tennessee Williams has a playwright announced his poetic vision with such authority on the Broadway stage … PERESTROIKA is a masterpiece.” —John Lahr, New Yorker
Born in New York City in 1956, and raised in Lake Charles, Louisiana, Tony Kushner is best known for his two-part epic, ANGELS IN AMERICA: A GAY FANTASIA ON NATIONAL THEMES. His other plays include A BRIGHT ROOM CALLED DAY, SLAVS!, HYDROTAPHIA, HOMEBODY/KABUL, and CAROLINE, OR CHANGE, the musical for which he wrote book and lyrics, with music by composer Jeanine Tesori. Kushner has translated and adapted Pierre Corneille's THE ILLUSION, S.Y. Ansky's THE DYBBUK, Bertolt Brecht's THE GOOD PERSON OF SEZUAN and MOTHER COURAGE AND HER CHILDREN, and the English-language libretto for the children's opera BRUNDIBÁR by Hans Krasa. He wrote the screenplays for Mike Nichols' film of Angels in America and Steven Spielberg's Munich. In 2012 he wrote the screenplay for Spielberg's movie Lincoln. His screenplay was nominated for an Academy Award, and won the New York Film Critics Circle Award, Boston Society of Film Critics Award, Chicago Film Critics Award, and several others. His books include But the Giraffe: A Curtain Raising and Brundibar: The Libretto, with illustrations by Maurice Sendak; The Art of Maurice Sendak: 1980 to the Present; and Wrestling with Zion: Progressive Jewish-American Responses to the Palestinian/Israeli Conflict, co-edited with Alisa Solomon. His recent work includes a collection of one-act plays entitled TINY KUSHNER, and THE INTELLIGENT HOMOSEXUAL'S GUIDE TO CAPITALISM AND SOCIALISM WITH A KEY TO THE SCRIPTURES. In addition, a revival of ANGELS IN AMERICA ran Off-Broadway at the Signature Theater and won the Lucille Lortel Award in 2011 for Outstanding Revival. Kushner is the recipient of a Pulitzer Prize for Drama, an Emmy Award, two Tony Awards, three Obie Awards, an Arts Award from the American Academy of Arts and Letters, a PEN/Laura Pels Award, a Spirit of Justice Award from the Gay and Lesbian Advocates and Defenders, a Cultural Achievement Award from The National Foundation for Jewish Culture, a Chicago Tribune Literary Prize for lifetime achievement, and the 2012 National Medal of Arts, among many others. CAROLINE, OR CHANGE, produced at the National Theatre of Great Britain, received the EVENING STANDARD Award, the London Drama Critics' Circle Award and the Olivier Award for Best Musical. In September 2008, Tony Kushner became the first recipient of the Steinberg Distinguished Playwright Award, the largest theater award in the US. He is the subject of a documentary film, Wrestling with Angels: Playwright Tony Kushner, made by the Oscar-winning filmmaker Freida Lee Mock. He lives in Manhattan with his husband, Mark Harris.
All licensees are required to give credit to the original stage producers of the play in the following form on the title page in all programs distributed in connection with performances of the Play and in all advertising in which the full cast appears in size of type not less than ten percent (10%) of the size of the title of the Play:
PERESTROIKA was first performed as a staged reading by the Eureka Theatre Company in May 1991
The world premiere was presented by the Mark Taper Forum in November 1992
The play was presented by New York University/Tisch School of the Arts in April 1993
The play opened in London at the Royal National Theatre of Great Britain in November 1993
Opened in New York at the Walter Kerr Theatre in November 1993
In addition, the following must appear within all programs distributed in connection with performances of the Play:
Angels in America, Part Two: Perestroika is performed by special arrangement with Broadway Play Publishing Inc, New York, NY
JoAnne Akalaitis' exploration of America as an immigrant and refugee society is complex, timely, and highly theatrical: a collage of images and events, documentary and testimony, that asks us to look again at the pressures and liberties of life in a foreign culture. GREEN CARD both describes and creates, for performers as well as audiences, the cacophony of sounds and barrage of images that confront those newly arrived in this land. The play moves from Ellis Island to Los Angeles, a city many consider the Ellis Island of the eighties.
Cast: 11 total (5 female, 6 male, multiethnic, flexible casting) Full Length Drama (about 100 minutes) Minimal Set Requirements Contemporary Costumes
When Trent brings Felix home to New Orleans to meet his father and homophobic grandfather, the family’s demons come slithering into the light. Watchful ghosts, sinister hustlers, and a myriad of parasites lead Felix on a Southern Gothic journey to St. Louis Cemetery No. 1.
Cast: 4 total (4 male) Full Length Drama (about 105 minutes) Minimal Set Requirements Contemporary Costumes
Unmarried cousins Eleanor and Lolly have inherited from their recently deceased aunt a historical house on the windswept Massachusetts coast. Only thing is, the place is haunted by the handsome young ghost of a swashbuckling 19-century smuggler who was hanged for his crimes. The local minister, Mr Butts, finds it all unbearably romantic. Eleanor, a worldly woman, is skeptical of the ghost's existence, but spinsterish Lolly claims he visits her at night, and they've fallen in love. Has Lolly, Eleanor wonders, lost her mind? Moreover, how could the ghost possibly prefer Lolly to her? As the ghost continues his visitations, his reasons for the haunting are gradually revealed, and not only Lolly but even Eleanor and Mr Butts begin to fall under his spell, the surprising consequences of which may just land all three of them in jail in this delightful and otherworldly romantic comedy.
Cast: 4 total (2 female, 2 male) Full Length Comedy (about 110 minutes) Minimal Set Requirements Contemporary Costumes
Brad and Edgar realize they're in love. Brad is in the Air Force and has a few months left to serve. An officer arrives at the house, which belongs to a lesbian couple who have been entertaining men from the air base, and the neighbors have reported it. The officer is a closeted gay man and blackmails Brad in return for not reporting him.
Cast: 3 total (3 male) Short Comedy (about 45 minutes) Single Set Contemporary Costumes
In October 1983 a truck filled with explosives blew up in a Marine barracks in Beirut, killing 242 soldiers. SEMPER FI explores the aftermath of that terrorist attack on the Marine Lt Colonel who was in charge.
Cast: 7 total (2 female, 5 male) Full Length Drama (about 90 minutes) Single Set Contemporary Costumes
Trapped in horrendous and cramped living conditions with his father and grandfather, Rosario Cortez battles to break his family's cycle of poverty and remove his son from the violence and squalor of the urban ghetto.
Cast: 6 total (1 female, 5 male) Full Length Drama (about 100 minutes) Single Set Contemporary Costumes
Robert Patrick, introduction by Harvey Fierstein, foreword by William M Hoffman
This collection includes seven one-act plays: 1920s: ONE OF THOSE PEOPLE, 1930s: THE RIVER JORDAN, 1940s: BILL BATCHELOR ROAD, 1950s: ODD NUMBER, 1960s: FOG, 1970s: FAIRY TALE, 1980s: POUF POSITIVE. UNTOLD DECADES is a unique concept: seven one-act plays, each in a different setting with different characters, which together trace the romantic comedy of gay male love over seven decades of the twentieth century. From the secret sophistication of the international gay scene in the ’20s through such variations as the poverty of the ’30s, wartime revelry of the ’40s, Cold War paranoia of the ’50s, ghetto ritualization in the ’60s, coming of age in the post-liberation ’70s, to the plague-filled ’80s, these plays range widely in style and tone. But all display the deft touch and dazzling insights of a masterful comic mind. 1920s: ONE OF THOSE PEOPLE: A writer and a fan are flattered and embarrassed when acquaintances try to fix them up at a black-tie party. 1930s: THE RIVER JORDAN: To earn a little money Ray goes with rich men but only when sufficiently drunk. His regular client, John-Bo, is giving him up to get married, and John-Bo’s friend Aegis arrives to take him to the wedding rehearsal. Ray persuades Aegis to take him home, and they continue to see each other. But after a trip to Europe together, Ray worries that Aegis will desert him when they arrive in New York. Ray, who still has to get drunk to have sex, has difficulty grasping that Aegis is in love with him and has no intention of letting him go. 1940s: BILL BATCHELOR ROAD: Bill and Bob entertain young troops who are to be sent overseas to fight. They keep photo albums and correspond as often as possible. The young men put down Mrs B Batchelor as next of kin so that Bill and Bob will be notified if they’re killed. When the father of one of the dead soldiers arrives, seeking to discover who Mrs B Batchelor is, he is stunned to learn that his son took part in gay parties and sex. 1950s: ODD NUMBER: Brad and Edgar realize they’re in love. Brad is in the Air Force and has a few months left to serve. An officer arrives at the house, which belongs to a lesbian couple who have been entertaining men from the air base, and the neighbors have reported it. The officer is a closeted gay man and blackmails Brad in return for not reporting him. 1960s: FOG: Fag and Stud meet up in Central Park. Stud describes how when he first arrived in New York as an intellectual he couldn’t find a partner, so he took up body building. Now he can’t find a partner because men are afraid of him. 1970s: FAIRY TALE: Sphinx & Amos, a country-pop duo, are the gay equivalent of Simon & Garfunkel. After their breakup, Sphinx pursued an unsuccessful acting career in Hollywood. Amos has finally had his first solo concert, and Leon, his manager, has arranged a surprise for him afterwards: Sphinx who has seen the error of his ways and wants them to get back together again. 1980s: POUF POSITIVE: Bob, a playwright, tries to cheer up his ex-lover, Robin, who has AIDS. But the only thing it seems that will really cheer Robin up is for Bob to write a funny AIDS play.