Watching the opening night performance of “Angels in America: Part One: Millennium Approaches” at Civic Theatre of Allentown was a jarring reminder of just how tumultuous was the decade of the 1980s, and how little we have progressed nearly 40 years later.

Civic Theatre Artistic Director William Sanders directed the award-winning play in 1997, as well as this production 20 years later at Civic, which is highlighted by superb acting, brilliant staging and a masterful script.

Written in two parts by politically-outspoken playwright Tony Kushner, “Angels in America” received a Pulitzer Prize in 1993, along with a Tony Award. “Part 2: Perestroika” opens May 11 at Civic and runs concurrently with Part One through May 20.

“Part One,” reviewed May 5, is set in 1985 when Ronald Reagan was in his second term as president of the United States. The play mirrors the political discourse of the day, which is absorbed with fear of Communism and the War on Drugs. While the world is experiencing an historic surge in population, ironically, AIDS is well on its way to ultimately killing more than 35 million.

Subtitled “A Gay Fantasia on National Themes,” the play’s content is much deeper than that. “Angels” is a sobering and often sardonic examination of a society still riddled with homophobia, and bigotry toward Blacks and Jews, despite that society’s protestations of freedom and equality for all. Beyond that, the play has moments of sincere tenderness, humor and a profound understanding of the human condition.

Civic’s cast of eight actors, some of whom play multiple roles, genuinely deserved the standing ovation they received opening night. Many of the actors had long monologues that never lost their intensity and impact, and all had to deal with difficult story lines and portrayals on stage.

Barry Glassman was riveting as the real-life lawyer Harry Cohn, who served as chief counsel to Sen. Joseph McCarthy during the Communist witch-hunt days, and in the play, takes credit for getting Ethel Rosenberg executed. Cohn dies of AIDS-related causes, but stays in denial until the end, telling people and himself that he has cancer. Glassman, in reprising the Cohn role from 1997, thoroughly captures his character’s bravado and gritty defiance.

Will Morris, as the dying AIDS victim, Prior Walter, is a heart-rending reminder of the pain the disease inflicts on victims and loved ones. Morris deftly moves through the stages of his character’s illness from acceptance, to anger at his partner’s abandonment, to fear when the end is near. The range of emotions the role requires of Morris must be mentally and physically draining.

As Louis, the anguished and later self-loathing partner of the dying AIDS victim, Troy Brokenshire gives a compelling performance. His pathetic attempt at punishment through a for-hire male prostitute was performed with restraint and sensitivity.

The only major female character, Harper Pitt, is played convincingly by Gretchen K,. Furst. As the agoraphobic wife of law clerk Joe Pitt (Jason Roth), who is being pressured by Cohn to move to Washington, D.C., she manages the daunting task of moving in and out of the reality of mental distress and drug-induced fantasy.

One of the most enthralling performances is given by Adam Newborn as Belize, a former drag queen. Newborn moves effortlessly from being at varying times funny, opinionated, cynical and loving. As Belize, he’s the orator of opinions about racism, politics, social injustice, and on and on.

In supporting roles are JoAnn Wilchek Basist, who literally flies like The Angel, and Susan Sneeringer as Hannah Pitt.

The fine performances are enhanced by the fabulous set, lighting and ingenious staging of the production.

Marilyn Loose’s minimalist set design features moveable panels that facilitates seamless scene changes, and hints at scene locations without the need for cumbersome set pieces. Morris designed the impressive lighting that includes spotlighting key characters at the end of scenes.

Scenic artist Jan Joyce’s back-wall American flag is an almost constant reminder of the political aspects of the play and of society.

Together with Sanders’ creative staging, “Angels” is a dramatic and a visual delight.

Tickets: Civic Theatre Box Office, 527 N. 19th St., Allentown; CivicTheatre.com, 610-432-8943