Fabregas' reading of the AIDS-stricken drag queen Prior Walter rendered a sincere, heart-wrenching delivery. His quick emotion switches were on cue and his subtexts and puns were hilarious and heartbreaking at the same time. What made him shine brighter on stage were his scenes with the rising theatre actor Nelsito Gomez, playing Louis Ironson, whose acting chops were also marvelous and seen with maturity compared to his past roles.

Markki Stroem delivered the married closeted gay lawyer character of Joe Pitt with such subtlety and refined machismo. Opposite him was Angeli Bayani playing Harper Pitt, whose disturbed psyche and soul speak loudly through silent stares and calculated beats. Art Acuña was terrific as Roy Cohn and Andoy Ranay's Belize was sharp and tacky, both were adorable and raised the roof with their thought-provoking satirical jabs.

But perhaps what captivated the audience the most, even with their quick moments onstage, were revered actresses Cherie Gil (Hannah Pitt) and Pinky Amador (The Angel). All the other cast members portray multiple roles, as with the tradition of Angels in America productions overseas, and Gil's and Amador's multiple characters were distinctive from each other and stellar beyond words. Gil opened the play as a Jewish rabbi, which she played convincingly and unrecognisable. On the other hand, Amador's flight as The Angel was jaw-dropping and hauntingly beautiful that left audiences with chills down their spine.

"Kushner's text is so grand, so poetic and can sometimes feel so far removed from the human experience," Fabregas said. "Bobby somehow brings it back down to earth, making it tangible until the words start to feel like second skin. Until you cannot imagine your character expressing him or herself in any other way. He finds a language that works for each individual actor, knowing exactly when to micromanage and when to step back. He understands that the material's bound to take you to places that aren't easy to get to, and he gives each of us the breathing space we need. How apt that he has gathered actors of various backgrounds, of different schools and somehow connected each one—human connection is the main thesis behind this production."

Despite tackling issues of its time, Angels in America: Millennium Approaches remain relevant today and even in the Philippines. The questions it poses are still what we ask today. Like Joe Pitt, we are searching for who we truly are and like Roy Cohn, we are obliged to follow the norms and hide our skins. Like Prior Walter we are resisting to "pave the way" for true social change, terrified of the future that awaits and linger on the past that broke us apart. The fear and excitement it evokes in its anticipation for the approach of the 21st Century, resonate in today's generation striving for social impact yet reluctant to make their voices heard.

Angels in America: Millennium Approaches is down to its last 5 shows. Catch it at the Carlos P. Romulo Auditorium, RCBC Plaza Makati. Tickets are available at www.ticketworld.com.ph