In the following essay, Frantzen examines the representation of Anglo-Saxon identity in Angels in America in terms of Kushner's sexual identity politics.

In the following essay, Savran examines the ideological underpinnings of Angels in America in terms of the cultural, historical, and political context in which it was produced.

In the following essay, Bechtel examines the underlying political ideology of Angels in America in terms of the leftist cultural theories of Walter Benjamin. Bechtel asserts that Kushner's play ultimately achieves a “historical disruption” of status quo politics.

In the following essay, Ogden examines Kushner's representation of sexual identity in Angels in America in terms of the intersection of medical and political discourse around the AIDS epidemic.

In the following essay, Fisher compares the representations of homosexuality in Kushner's Angels in America and the plays of Tennessee Williams.

In the following essay, Kruger examines the intersection of individual identity and collective history in Angels in America.

In the following essay, Quinn argues that the concept of law is central to both the national and spiritual themes running through Angels in America. Quinn asserts that, in Kushner's play, the law emerges as a kind of secular religion.

In the following essay, Norden discusses the ideological implications of Jewish gay identity in Angels in America.

In the following essay, Meisner examines Kushner's representations of women and femininity in Angels in America.

In the following essay, McNulty examines Kushner's representation of the AIDS epidemic in Angels in America in the context of American politics and history. McNulty asserts that while Millennium Approaches offers fresh insight into the workings of history, Perestroika retreats from this radical historical revisioning through the fantastical element of the angel descending from heaven.

In the following, McNulty analyzes Angels in America in terms of Walter Benjamin's theories of history, finding that Perestroika abandons Benjamin's view of history as continuous catastrophe for an unwarranted view of history as a record of progress.

In the following essay, Montgomery examines the similarities between Kushner's Angels in America and the tradition of medieval religious mystery plays.

In this essay, Posnock compares the historical Roy Cohn to Kushner's depiction of him in Angels in America.

In the following essay, Smith examines the conflict between apocalyptic and progressive impulses in Angels in America.

In the essay below, Rogoff sardonically traces the evolution of Angels in America, maintaining that the changes made in the course of its various stagings lessened the work.

In the following essay, Aiello compares Angels in America with Aristotle's Poetics, claiming that Kushner's play vitiates the form of tragedy.

In the excerpt below, McDonough investigates Kushner's examination of male identity in Angels in America, arguing that the play critiques "social assumptions regarding the efficacy of traditional masculinity. "

In the following essay, Felman examines the parallels between Jewish and gay identity as presented in Angels in America. Felman asserts that Kushner's play is ultimately about “Jewish male self-loathing in the twentieth century.”

In the review below, Brustein, despite some reservations, judges Angels in America "the authoritative achievement of a radical dramatic artist with a fresh, clear voice."

In this review, Winer asserts that Angels in America is "a fierce and wonderful play—uncompromising and compassionate, unflinchingly partisan and intensely well-informed, as intimate and entertaining as it is monumental and spiritual."