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By David J. Howe

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109. 110. 111. 112. 113. 114. 115. 116. 117. 118. 119. 120. 33 1987, “The idea [at the heart of the play] had to do with the exodus history of America. . You set out from an oppressive old place, go into the wilderness and reinvent yourself, start a new community free of the plagues of the old one. ” Thus, the religious story at the core of both Judaism and Mormonism is central to Kushner’s agenda. While it is impossible to escape the problems of the home society, the attempt to reject oppression and build something new is clearly a good thing: in the end, it is what Prior and his new “family” do in the midst of the conservative culture they reject.

Solomon, Ailsa. ” In Approaching the Millennium: Essays on Angels in America, 118–33. , Joseph D. Straubhaar, and Gayle Newbold. ” Dialogue: A Journal of Mormon Thought 32, no. 2 (Summer 1999): 133–57. Tuveson, Ernest. Redeemer Nation: The Idea of America’s Millennial Role. Chicago: University of Chicago Press, 1968. Underwood, Grant. The Millenarian World of Early Mormonism. Urbana: University of Illinois Press, 1993. Weber, Bruce. ” New York Times, April 25, 1993. http://www. com (accessed June 6, 2008).

While those characters who find themselves do not abandon religious ideas, they no longer rely on institutions to supply and interpret those ideas for them. In this light, Joe’s sin is not his ongoing faith but his uncritical acceptance of the tenets of that faith—and its social and political implications—as laid out for him by a church. 111 From Stage to Screen: Taking the Edge Off? Director Mike Nichols’s 2003 film adaptation of Angels in America, for which Kushner wrote the screenplay, significantly softens his critique of Mormonism when compared with the text of the play.

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