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>> More gimmicks than passion in Angels in America II

by AMY BARRATT

If you saw Part One last year, you know that Angels in America is big. Tony Kushner's epic two-parter is an uncanny portrait of mid-'80s America that's positively lousy with ideas: ideas about politics, theology and sex.

After reading through the program's plot synopses and background material, then sitting through three and a half hours of Part Two: Perestroika, a girl could feel like she'd earned six credits toward a degree. Even if you saw Part One last year, it takes a lot of concentration to get back into the story, which picks up exactly where Millennium Approaches left off.

A short plot summary is virtually impossible. Let's just say the play deals with--among other things--the AIDS crisis, Mormonism, the Reagan era, the legacy of McCarthyism, destruction of the ozone layer, the appeal of Valium, the perils of progress and what to do when an angel calls.

As I said, Angels in America is big. It's also approximately a gimmick a minute. Even though it was actually born in San Francisco, with its cool gadgetry and special-effects it feels like it was made for Broadway, where at $80 or $100 a ticket, people don't feel they've got their money's worth unless you razzle-dazzle 'em. The Centaur production goes for that gusto on a smaller scale and budget.

John C. Dinning's set is pale and angular, with sliding panels and "walls" that can be walked right through--a handy trick in a show as full of apparitions and hallucinations as this one. The numerous beds that dominate the decor are rolled in on faux marble slabs which represent different settings. It's all very nifty and, possibly intentionally, reminiscent of the Starship Enterprise.

Director Gordon McCall has managed to bring together almost exactly the same cast he had last year: Steve Adams takes over for Robb Paterson as Joe; Joanna Noyes repeats the role(s) she took over from Joan Orenstein when she fell ill last year, but all the other actors are the "originals."

Even though the performances--especially those of Noyes, Glyn Thomas and Denis Simpson--were good on opening night, there was a tentativeness about them. Arguments between characters had the energy of cocktail chatter, a slap had the passion of a wet fish. In fact, the whole production felt rather chilly and passionless.

As we saw in his Twelfth Night, McCall is good at drawing the humour from a piece, even at directing individual scenes, but when it comes to overall concept, he falls short. He does little with this play beyond simply present it.

The energetic McCall is working out to be a terrific administrator for the Centaur, making it a hub of activity for the community. Unfortunately, his artistic judgment isn't as sound. But if an artistic director wants to keep the juiciest plums of the season for himself, who's to stop him?

Even so, Angels in America is an important and interesting enough play that even a lukewarm production is well worth seeing.

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Meanwhile, across the hall in Centaur I, Vittorio Rossi's Paradise by the River continues until May 24. Some time has obviously been trimmed from that show since opening night, when it ran three hours. Despite starting half an hour later, it is now letting out well before Angels in America.

If you're up for a truly marathon theatrical experience, the Festival de Théâtre des Ameriques is presenting a four-hour Hamlet this weekend, in Lithuanian with English and French super-titles, at Usine C. It's part of something called Théâtres du Monde continuing until May 30. Call 842-0704 for more information.

And speaking of Hamlet, Danespotting is back, this weekend only, at Theatre 1774's Infinite Space on St-Laurent. Written and performed by Matt MacFadzean and Amy Price-Francis, the hit of last year's Fringe plays tonight (Thursday) through Saturday at 10 p.m., following The Painting by Sean Dixon at 8 p.m. There will also be Sunday matinees of both plays. Call Theatre 1774 for more information on their ongoing mini-festival, a May to Play.

Angels in America, Part Two: Perestroika, until May 31 at Centaur Theatre