The creation of the 'main' Angel played by six dancers/puppeteers and Amanda Lawrence as the angel itself is breathtakingly original and continuously mesmerising. The AIDS 'plague' has clear biblical connotations and the angels of the title are fantastical creations that are there to question morality, justice, belief and whether or not there is an afterlife. Although ostensibly a 'gay fantasia' the background of story is built largely on a religious platform. He plays a corrupt, gay bashing (ironic) lawyer who has no limit to what he will do to save himself (he too had AIDS but says it's cancer, having spent his entire life in the closet, much to the disgust of most of the rest of the male gay cast). Whilst, at times, you might want Garfield to slightly reign in the histrionics (and the fey gayness to be honest) you sit with bated breath waiting for Nathan Lane to go off on vitriolic outburst after hateful rant. Core ensemble shout outs also have to go to the entire cast especially Denise Gough, James McArdle, Nathan Stewart-Jarrett and Russell Tovey. But the support he gets from Nathan Lane, in particular, is astounding. The acting is uniformly brilliant with Andrew Garfield in the lead role of AIDS sufferer Prior Walter.

In fact it is a breeze because the writing of Tony Kushner and the direction of Marianne Elliot (The Curious Incident of the Dog in the Night) pepper this doomsday epic with both humour and beauty (in staging, lighting, sound and movement – it's a technical masterpiece throughout). Eight hours in a theatre (or in this case my two favourite cinemas The Cameo in Edinburgh for Part 1 and The Hippodrome in Bo'ness for Part 2) is a daunting prospect, especially when the subject matter threatens to overwhelm you emotionally.

Angels in america part one