Tony Kushner (1994)
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10 min
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12 Minutes
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In the face of celestial and earthly collapse, broken souls find fractured grace and the courage to rebuild amidst the rubble of the AIDS epidemic and Reagan eras.
Ask anything about Perestroika and get instant answers grounded in the summary.
Prior Walter, now a prophet, struggles with the Angel's command to go to Heaven and deliver a message to other angels. He feels pain from this divine burden. Belize, his friend, helps Prior with his medications and offers a steady presence amid the chaos. Meanwhile, Louis Ironson, Prior's ex-lover, feels guilt for abandoning Prior and struggles with his own moral failures, seeking comfort in books and philosophical talks. Joe Pitt, having left his wife Harper, lives with Louis, but their relationship has tension due to Joe's conservative values and Louis's liberal views. Harper Pitt, reeling from Joe's departure and mental health issues, still has vivid hallucinations, mainly of an Eskimo, which symbolizes her isolation.
Prior Walter, after a difficult journey, goes to Heaven, a desolate and bureaucratic place with ancient, tired angels. He learns that God left Heaven in 1906, leaving the angels in despair. The angels, upset by human progress, demand that Prior tell humanity to 'Stop Moving.' They believe human change caused God's departure and their suffering. Prior refuses. He argues for humanity's need for change, growth, and forward movement, even with suffering. He challenges their static view, saying life is defined by movement. His defiance is a key moment, as he chooses humanity's path over divine command.
Roy Cohn, dying of AIDS in a hospital, continues his fight against Ethel Rosenberg, whose ghost haunts him. He refuses to confess or apologize for his past actions, especially his role in her execution. Belize, a nurse, secretly steals Roy's AZT for Prior, believing it is a necessary redistribution. Louis visits Roy, having a complex, morally unclear exchange where Roy tries to justify his life and influence Louis. Roy's last moments show his desperate wish for power and control, even as his body fails. Ethel Rosenberg eventually recites the Kaddish, the Jewish prayer for the dead, for him, an ironic act of closure and judgment, showing the lasting impact of his actions.
Harper Pitt, having left Joe and her hallucinatory world, travels to Salt Lake City, seeking a new start. She confronts her past and her disappointment with traditional family ideas. Her mind, once full of fantasies, starts to clear as she accepts a more grounded reality. She finds some peace and independence, recognizing her own strength. Her symbolic experiences in Antarctica represent her letting go of old burdens and facing an unknown future. She chooses self-reliance and emotional honesty, moving beyond her old life and its expectations.
Louis and Joe's attempt at a relationship fails due to their different beliefs and emotional needs. Louis's intellect and liberal guilt clash with Joe's conservative values and hidden homosexuality. Their arguments grow, showing their basic incompatibilities. Joe struggles with his identity and cannot reconcile his religious beliefs with his desires. Louis, though he cares for Joe, cannot bridge the gap. The relationship collapses, leaving both men hurt and more isolated. Their failure shows the broader societal divisions Kushner explores.
Belize continues to care for Prior, offering physical and emotional support. He is practical and compassionate, handling Prior's illness and the supernatural world. He also acts as a moral judge, criticizing Louis's abandonment of Prior and challenging hypocrisy. Belize's theft of Roy Cohn's AZT for Prior shows his commitment to his friend and his belief in fair resource distribution, even if it means bending rules. He is a voice of reason and strength, showing resilience and loyalty in a painful world, proving to be an essential friend.
Hannah Pitt, Joe's devout Mormon mother, changes significantly. Initially rigid, she softens, especially with Prior. She becomes involved in Prior's world, seeing his suffering and visions. Her faith is tested and grows as she deals with the supernatural events. She moves from strict dogma to a more compassionate understanding of faith and humanity. She becomes a caregiver for Prior, offering comfort and help, a big shift from her initial disapproval of his lifestyle. Her journey shows empathy winning over prejudice.
The Angel returns to Prior, urging him again to accept his prophetic role and deliver the message 'Stop Moving.' Prior stands firm in his refusal. He has seen the suffering caused by stagnation and the beauty of human progress, even with its flaws. He speaks strongly for humanity's ability to change, invent, and handle complex moral issues. He accepts his mortality and humanity, choosing to live a full life, however short, rather than give in to Heaven's static demands. This confrontation solidifies Prior's independence and his commitment to the human condition, rejecting the divine burden for a more earthly existence.
Louis, deeply sorry for his abandonment, seeks Prior's forgiveness. Their reconciliation is painful but leads to a renewed, though changed, bond. They do not resume a romantic relationship, but a deep friendship and mutual respect are re-established. Along with Belize and Hannah, they form an unconventional, chosen family, united by their shared experiences and commitment to caring for one another. This new group symbolizes a rejection of traditional family structures and an embrace of community built through love, empathy, and shared struggle. They navigate Prior's illness and their lives' challenges together, finding strength in their connection.
Four years later, in 1990, Prior, Louis, Belize, and Hannah gather at the Bethesda Fountain in Central Park. Prior, though still living with AIDS, has defied expectations and is in remission. The group reflects on their changes and the world. Prior gives a moving monologue, acknowledging the world's ongoing struggles and suffering, but also emphasizing human resilience and the possibility of healing and progress. He speaks of 'the great work' that continues, suggesting humanity's task is to keep moving forward, embrace change, and care for one another. The play ends with cautious optimism, showing the lasting power of community and hope in adversity.
The Protagonist
Prior transforms from a victim of circumstance into an empowered advocate for humanity, rejecting divine stasis for human progress.
The Supporting
Louis moves from intellectualizing his guilt to actively seeking reconciliation and accepting responsibility for his past actions.
The Supporting
Belize remains a consistent moral anchor and source of strength for Prior and the community, embodying unwavering compassion.
The Supporting
Joe confronts his repressed sexuality and conservative upbringing, leading to a painful but necessary reckoning with his true identity.
The Supporting
Harper moves from hallucinatory escapism to confronting reality and embracing independence and self-reliance.
The Supporting
Hannah's rigid faith evolves into a more compassionate and inclusive understanding of humanity and spirituality.
The Antagonist
Roy Cohn remains unrepentant until his death, embodying the destructive nature of unchecked power and hypocrisy.
The Antagonist
The Angel's attempts to impose stasis on humanity are ultimately rejected by Prior, signifying the triumph of human agency over divine command.
A central theme is the human need for change, movement, and progress, contrasting with the angels' demand for stagnation. Kushner argues that evolution, even with its pain, is basic to life and growth. Prior's rejection of the angelic command 'Stop Moving' affirms humanity's ability to adapt, invent, and create a better future. The characters' personal journeys, marked by deep changes, reflect this larger theme, suggesting that embracing change is vital for survival and spiritual development.
“We won't. We are not angels. We do not want to be angels. We are human. We are good. Good at changing. Frightening. But good.”
Kushner explores the idea that family is more than biological ties, stressing the importance of creating supportive communities based on love, empathy, and shared struggle. The unconventional 'family' of Prior, Louis, Belize, and Hannah at the play's end shows this. In a time of crisis (the AIDS epidemic), traditional structures often fail, forcing people to form new bonds for survival and emotional support. This theme highlights human connection and the strength found in collective care, suggesting that compassion and mutual aid are vital for navigating suffering and building a more just world.
“The world only spins forward. We will be citizens. The time has come. The great work begins.”
Many characters deal with past mistakes and the chance for redemption. Louis's guilt over abandoning Prior, and his later efforts to make amends, are central to this theme. While some characters, like Roy Cohn, remain unrepentant, others, like Hannah Pitt and Louis, change morally. The play suggests that forgiveness, for oneself and others, is a difficult but necessary step toward healing and moving forward. It explores moral accountability and the capacity for change, even in the face of deep flaws.
“You are a wonder, a wonder. You are a miracle. I forgive you. I forgive you.”
'Perestroika' examines questions of faith, God, and the divine, especially in a post-God world. The angels' despair over God's abandonment makes characters rethink traditional religious ideas. Prior's visions challenge common spiritual understanding, while Hannah's Mormon faith is both tested and expanded. The play suggests that spirituality can be found not just in established religions, but also in human connection, empathy, and the ongoing 'great work' of living. It embraces a complex, evolving view of the sacred.
“God has forsaken us. God's Abandonment. The Great Migration. The Great Work.”
The play skillfully links personal struggles with larger political and social issues of the 1980s. The AIDS epidemic, homophobia, conservative politics, and the legacy of figures like Roy Cohn are not just background but are key to the characters' experiences. Joe Pitt's hidden homosexuality and conservative views, Roy Cohn's ruthless pursuit of power, and Prior's battle with AIDS are all political. Kushner argues that private lives are shaped by public forces, and personal choices have broader societal implications, making the intimate political.
“History is a thing of blood and tears, and sometimes a thing of laughter. Mostly tears.”
Prior Walter's encounters with the Angel and his role as a reluctant prophet.
The angelic visitations serve as a central plot device, driving Prior's narrative and introducing the play's fantastical elements. The Angel's command for Prior to deliver the message 'Stop Moving' creates the primary conflict between divine will and human agency. This device allows Kushner to explore profound theological and philosophical questions about humanity's place in the universe, the nature of God, and the purpose of existence. It also provides a powerful metaphor for the overwhelming and often incomprehensible forces that individuals face, particularly during times of crisis like the AIDS epidemic.
Harper Pitt's vivid, symbolic inner world.
Harper's hallucinations, particularly her recurring encounters with the Eskimo and her travels to Antarctica, serve as a significant plot device. They offer a window into her psychological state, her desire for escape, and her struggle with reality. These surreal sequences allow Kushner to explore themes of mental illness, escapism, and the subjective nature of perception. As Harper's mental health improves and she embraces independence, her hallucinations gradually recede, symbolizing her grounding in reality and her emotional healing. They also provide moments of poetic imagery and emotional depth.
Roy Cohn's spectral tormentor and symbol of justice.
The ghost of Ethel Rosenberg haunting Roy Cohn is a potent plot device connecting the personal to the political. Ethel represents the historical consequences of Roy's actions and serves as his ultimate, inescapable judge. Her presence underscores the themes of justice, accountability, and the long-lasting impact of political corruption. Her recitation of the Kaddish over Roy's dying body is a powerful moment of ironic grace and judgment, symbolizing a form of spiritual reckoning for his unrepentant life. This device allows the play to directly engage with historical injustice.
A symbolic meeting place for the characters in the epilogue.
The Bethesda Fountain in Central Park serves as a powerful symbolic location for the play's epilogue. Traditionally a place of healing and renewal (the Angel of Bethesda is said to stir the waters for healing), it represents the hope for a new beginning and the possibility of collective healing. The gathering of the chosen family there signifies their survival, their resilience, and their commitment to a future built on community and care. It acts as a visual metaphor for the 'great work' that continues, emphasizing themes of progress, hope, and the enduring human spirit in the face of adversity.
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Tony Kushner is an American playwright and screenwriter known for his significant contributions to contemporary theater. He is best known for his two-part play "Angels in America," which includes "Millennium Approaches" and "Perestroika," exploring themes of politics, identity, and the AIDS crisis. Kushner's work has received numerous awards, including the Pulitzer Prize for Drama.
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