“A vast, miraculous play… provocative, witty and deeply upsetting… a searching and radical rethinking of American political drama.” – FRANK RICH, NEW YORK TIMES 

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ANGELS IN AMERICA
Aug 12 – Sept 21

Cornish Playhouse at Seattle Center
(formerly Intiman Playhouse)

THE ANGELS PROJECT culminates with “Angels in America,” Tony Kushner’s groundbreaking two-play masterpiece, and one of the most honored American plays in history.

Subtitled “A Gay Fantasia on National Themes,” this award-winning two-part epic spans the Reagan-Bush eras and spirals around the AIDS crisis in 1980s New York, weaving the lives of fictional and historical characters into a feverish web of social, political and sexual revelations.

“Angels in America”  was awarded two Tony Awards for Best Play and the Pulitzer Prize for Drama. It was made into an Emmy Award-winning HBO film directed by Mike Nichols.

Buy a FESTIVAL PASS to see both Part 1 & Part 2 at a discount,
plus enjoy extra perks for other ANGELS PROJECT events
and a discount on lobby concessions.

Buy a Festival Pass

 

Want to experience this epic two-part masterpiece in one day?
Buy a MARATHON PASS.

Buy a Marathon Pass

 

Or, buy SINGLE TICKETS to Part 1: Millennium Approaches
or Part 2: Perestroika.

Buy Part 1 Tickets

Buy Part 2 Tickets

 

PRESENTING SPONSOR

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Festival Pass Benefits

  • Affordability – a discount off our single ticket prices
  • Flexibility – unlimited ticket exchange up to 48 hours before your ticketed performance
  • Priority – advance notice and discounts for additional programs and events that are part of The Angels Project, including deepsouth, A Short-Term Solution to a Long-Term Problem, and Tiny Kushner
  • Felicity – A special discount off lobby concessions and other special perks along the way

 

“Landmark works of theater… significant meditations on gay life, politics, and religion in America.” -NEW YORK TIMES ARTSBEAT

“Both a landscape of loss and a map of the paths of denial, fury, humor, and mourning that homo sapiens use to travel beyond sorrow.” -THE NEW YORKER