{"id":101051,"date":"2017-05-05T10:30:58","date_gmt":"2017-05-05T14:30:58","guid":{"rendered":"https:\/\/canadianinquirer.net\/v1\/?p=101051"},"modified":"2017-05-05T10:30:58","modified_gmt":"2017-05-05T14:30:58","slug":"andrew-garfield-wows-critics-in-london-angels-in-america","status":"publish","type":"post","link":"https:\/\/canadianinquirer.net\/v1\/2017\/05\/05\/andrew-garfield-wows-critics-in-london-angels-in-america\/","title":{"rendered":"Andrew Garfield wows critics in London &#8216;Angels in America&#8217;"},"content":{"rendered":"<figure id=\"attachment_101052\" aria-describedby=\"caption-attachment-101052\" style=\"width: 955px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2017\/05\/15875178_1277122602352303_7264127571848918297_o.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-101052\" src=\"https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2017\/05\/15875178_1277122602352303_7264127571848918297_o.jpg\" alt=\"One of the landmark plays of the late 20th century, \u201cAngels in America\u201d is set in a deeply divided United States haunted by premonitions of apocalypse. It still feels completely relevant. (Photo: Andrew Garfield\/Facebook)\" width=\"955\" height=\"960\" srcset=\"https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2017\/05\/15875178_1277122602352303_7264127571848918297_o.jpg 955w, https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2017\/05\/15875178_1277122602352303_7264127571848918297_o-150x150.jpg 150w, https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2017\/05\/15875178_1277122602352303_7264127571848918297_o-298x300.jpg 298w, https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2017\/05\/15875178_1277122602352303_7264127571848918297_o-768x772.jpg 768w\" sizes=\"auto, (max-width: 955px) 100vw, 955px\" \/><\/a><figcaption id=\"caption-attachment-101052\" class=\"wp-caption-text\">One of the landmark plays of the late 20th century, \u201cAngels in America\u201d is set in a deeply divided United States haunted by premonitions of apocalypse. It still feels completely relevant. (Photo: <a href=\"https:\/\/www.facebook.com\/174729939258247\/photos\/basw.AbplrNrlflDAcNOupGz0dlTXiRewwyLqZBM-d35BZBqhWDi5q9yJ3yf5otgz9z4-He3kYKzgPUSpqjxG02x9bkwLJ3WHjGEzKnz9y5hkkes1pd6Ell7vx3M9utYnmAUYBy053q2lWb08H2HqCAbT8L_qGZsIPgb11VRxN6YqGSi3jQ.1190013884414215.1277122602352303.1189326431149609.1334842676580295.433075147039560.1284391391643112.1437302259653941.1340402566024306.1420364784672202\/1277122602352303\/?type=1&amp;opaqueCursor=AboX15oOWBxSD5Pb-Hnyh553kP2uzg6_Xcu5N2suOMYrFf5GRvJ4iW-6Xhxnah_esWLzENXHL2x64EzN_uwGi8lEq4jc6EjZ6jNIEe8XporDqG0wl4DJpWfZaOtrC7l5qNrKi2hT-5DiqwLzmMJmdpCaj_9icipsj2uExEKI51jmjWnIWzGDzalHKtNq4vC9rteKYq9OQTQIz7mj10-7ZE8MUms7e5nvh5vV1FFJrkt0MPVQIvIf-mio7NwvdyfS7A_SC1jp2SV0-B2doPkr9ysMk-F5VrPRVYCSFnvP72pC309UG2-SFkFkhADPyoto4LGY4wTwY8v-wLw4JRTMw3lnf8r4986Wla2Ptx3mLIT5WOVllXiQdnjEE2SUMI7ZiSFym83vataNtQ-LaIJngumgW-EJ5JKKnGY7-WVmW--trJdEdd6mAdL5pgLZNo7To5dsL0qC6tYLHsrT4I5dUj1WwGe-q3r0SX7PWPBNodz6O3BOkyjN9h5HpWuDlUg6iuyHI2D6QSZLpDo6quIOvGfze2bUfHVP_ZViipF1T3d6tV24OmAX1jymQCuNMuid9Lk&amp;theater\">Andrew Garfield\/Facebook<\/a>)<\/figcaption><\/figure>\n<p>LONDON \u2014 One of the landmark plays of the late 20th century, \u201cAngels in America\u201d is set in a deeply divided United States haunted by premonitions of apocalypse. It still feels completely relevant.<\/p>\n<p>Tony Kushner&#8217;s \u201cgay fantasia on national themes\u201d \u2014 revived in a sold-out production at Britain&#8217;s National Theatre \u2014 is set against the backdrop of the AIDS crisis, the \u201cReagan revolution\u201d and the end of the Cold War, but doesn&#8217;t feel like a period piece.<\/p>\n<p>The epic eight-hour drama is the London theatre event of the year, with a cast that includes Academy Award nominee Andrew Garfield and Tony Award winner Nathan Lane.<\/p>\n<p>The Daily Telegraph gave the production five stars on Friday, with critic Dominic Cavendish calling it \u201ca start-to-finish sensation,\u201d while the Evening Standard said it was \u201cexhilarating.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>LONDON \u2014 One of the landmark plays of the late 20th century, \u201cAngels in America\u201d is set in a deeply &hellip;<\/p>\n","protected":false},"author":33,"featured_media":101052,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,106],"tags":[18729],"class_list":["post-101051","post","type-post","status-publish","format-standard","has-post-thumbnail","category-entertainment","category-hollywood","tag-andrew-garfield","mauthors-the-canadian-press"],"_links":{"self":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/101051","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/users\/33"}],"replies":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/comments?post=101051"}],"version-history":[{"count":0,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/101051\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media\/101052"}],"wp:attachment":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media?parent=101051"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/categories?post=101051"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/tags?post=101051"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}