Thematic Ties That Bind

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When Angels in America first grabbed public attention in the early 1990s, it was evident that the play's historical roots in AIDS and 1980s gay culture reflected a widespread political discussion about public health and social acceptance.

By the turn of the millennium, the play had earned its position in the American theatrical and literary canons. As a result, the play is now in the high school classroom, a new and exciting environment but one that is removed from its original success. Here, Angels in America is read and received by students who not only have minimal knowledge of AIDS, Rea-ganism, and 1980s politics but were not even born at the time the play is set, in 1986.

Conducting research for my college thesis on Angels in America as an educational resource, I was lucky enough to ask Tony Kushner about his play and its possibilities in a modern high school classroom. I hoped that he might help connect his strong social agenda against homophobia and heternormativity to this environment.

Kushner expressed surprise, though, that a teacher might give his play to students, suggesting that the themes were for a more mature audience. Because I did not want to abandon my professional interest in Angels in America, I used Kushner's skepticism to uproot a deeper question about how to make it compelling to students.

After working with the text in my classroom, I have found that Angels in America's intrinsic moral conscience toward gayness may be focused on new national themes of human awareness and personal development.

Given the divide between the play's background and their own, students will initially struggle to make connections with Angels in America. For example, my students did not grasp the religious context of the opening scene, which is set in the midst of a Jewish funeral.

I asked, "Why does a play about AIDS and the 1980s begin here?" Many students guessed that Sarah Ironson herself had died of AIDS. One student, Gloria, looked at the line in the play—"This woman. I did not know this woman.

I cannot accurately describe her attributes, nor do justice to her dimensions. She was . . . ." (16; ellipses in the script)—as evidence of Sarah's self-imposed silence about her identity. "This woman was homosexual," suggested Gloria, "but she preferred not to come out of the closet."

It was unsurprising to me that students came to this conclusion, albeit incorrect. Teenagers work with schema closest to them. In this case, the background knowledge they had about Angels in America was the conversation on AIDS and the 1980s that we had the day before.

When I clarified and explained that Sarah Ironson was neither homosexual nor infected with AIDS, students were forced in a new direction. Instead of asking for predictions based on this first scene, I asked simply for one theme to describe the scene.

Here, students engaged with the script through family, religion, and community. As a class, we solidified the first theme of the play as Ancestry.