In the essay below, Savran attempts to answer the question of why "a play featuring five gay male characters [is being universalized as a 'turning point' in the American theatre, and minoritized as the preeminent gay male artifact of the 1990s. "]

In the following essay, Fisher explains the significance of Kushner's work to American theater of the late twentieth century and turn of the millennium.

In the essay below, Kushner argues the need for a committed political theater in America.

In this essay, Freedman analyzes Angels in America as "the most powerful recent attempt to interrogate the complex interrelation between inscriptions of Jewish and sexual otherness."

"Tony Kushner Considers the Longstanding Problems of Virtue and Happiness: An Interview by David Savran," in American Theater, Vol. 11, No. 6, October 1994, pp. 20-7, 100-04. In the following, Kushner discusses the influences on his work and his development as a writer.

In the following review of Homebody/Kabul, Steyn comments that the characters are not well developed, the plot is unfocused, and the play lacks a clear sense of purpose.

In the following review, Reston offers praise for Homebody/Kabul, calling it a brilliant play and a major accomplishment.

In this assessment, Lahr declares Perestroika "a master-piece."

In the following review, Phelan compares productions of Homebody/Kabul staged in New York and in Berkeley, California. Phelan asserts that the first act of the play is stronger than the second act.

In the following review, Brustein criticizes Homebody/Kabul, commenting that the events of the play seem inconsequential in light of the September 11, 2001 terrorist attacks on the United States, and asserts the play is lacking in focus, direction, and unity of theme.

In this assessment of Perestroika, Rich considers the play "a true millennial work of art, uplifting, hugely comic and pantheistically religious in a very American style. "

In the following review, Hornby asserts that, while Homebody/Kabul is written in a formless style, it is a major play by an important playwright.

Here, Brustein states that Perestroika "features the wittiest writing, and brightest sensibility, of any play in memory. But it not only has little in the way of structure, it also lacks the important dramatic component of a central action, or animating event, to push it forward. Most serious, it fails to prove its thematic premise, that an insistently homosexual perspective can be the basis for a universal worldview."

In the following review of the New York production of Millennium Approaches, Rich declares the play "a true American work in its insistence on embracing all possibilities in art and life."

In this review, Winer regards Perestroika as "playful and profound, extravagantly theatrical and deeply spiritual, witty and compassionate, furious and incredibly smart, " but concedes that it has some significant flaws.

In the review below, Lahr argues that Millennium Approaches, "which is gay in subject matter and theme, is about America, about justice, about decency, and about heart."

In the following evaluation of Perestroika, Simon notes that the play "aspires to epic status and, with its free-ranging action and propulsive energy, does approach it, " but ultimately, he argues, it "goes nowhere. "

Although he admires Millennium Approaches, Simon finds the work truncated and incomplete without its second half, Perestroika.

In the following review, Coles comments that Homebody/Kabul is an insightful and thought-provoking play.

In the following review, the critic comments that the main story in Brundibar is ultimately one of hope, although it includes a darker subtext.