Nonetheless, this is a resonant moment to revive Kramer’s poignant and incendiary drama about the politics and prejudice around infectious disease, as well as gay love and activism...The play captures the anger and internal schisms in the community with searing clarity.
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It is astonishing to think that Larry Kramer’s largely autobiographical play debuted in 1985, right in the midst of the AIDS crisis. No wonder it feels like a missive from the battlefield, blood and shrapnel clinging to every word.
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Although Kramer’s militant drama is light on subjectivity, and his writing style is impersonal, with a preference for debate over imaginative metaphor, there is a clarity and pace in this story, with its good guys, bad guys and in-between guys, that lifts the play above the usual run of docu-dramas.
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Kramer’s play sometimes feels like it is a series of speeches, but they’re speeches still capable of making you sob...Kramer’s play is living history, written without the benefit of hindsight, and it remains undimmed by time.
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The triumph of Cooke's production is the way it respects every beat of Kramer's political arguments and all his play's wit and style – it is often very funny – while never letting us forget that this here is above all a tragedy of men who lost men they loved, as friends and as partners.
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