As with many viewers, your enthusiasm for the piece and its power as a story has so enthralled you that you have confused the merits of the characters with those of the actors. You are particularly unfair to Ben Shenkman, whom most who know the play and have seen multiple versions of it agree brought nuance, detail and humanity to BY FAR the most difficult role.
Just step back for one second from your understandable identification with the heroic characters (Prior, Belize) to consider what the role of Louis actually demands of an actor compared with say, Belize, to whom Kushner has given only nobility, poetry and superhuman sass and wit. No slight against the gifted Wright, but if you think for example that your response to Belize's delicious shutting down of Louis in the Diner and Bethesda fountain scenes is due solely to Wright's talent, rather than to the writing and the work of both actors, you are in unsophisticated company.
Unfortunately this is why even great actors often are hesitant to take on roles that demand (as Louis does to a remarkable degree) the revealing of deep and universal human weaknesses-- fear, selfishness, ambivalence, self -doubt, self-sabotage, etc.: They guess, correctly sad to say, that many in the audience want to escape wrestling with these elements of their own identities, and not only won't sympathize with the character but will essentially blame the actor, like a soap opera fan slapping an actor for his character's caddish behavior, or like a professional wrestling fan scorning the "loser" of the "match." They will overwhelmingly identify with and prefer idealized characters (like Belize) and will fail to credit (as Shenkman's should be, and has been) the courage and skill required to play a complicated, flawed flesh-and-blood human being instead of a fantasy figure who always has the perfect comeback, or who gets the girl, or who suffers only at others' hands and never at his own.
It sounds like you connected with this piece enough to revisit it, and when you do maybe your disgust with the character of Louis will have subsided enough for you to notice virtues in the performance that you missed this time. In the exchanges with Belize, again for example, consider which actor must really "listen"-- ie. take in and react to unexpected information, adjust in the moment to having his assumptions slapped down, fumble at being confronted with furious moral contempt. Which character's attitude changes from the beginning of the scene to the end, rather than just being reasserted with flair?
More important, when you feel contempt for the character, imagine (if you're able to) how you might feel and behave, or consider behaving, under those circumstances, and why. And maybe the movie/play, which is a genuine piece of literature (as well as being a great soap opera), will be an even deeper and more moving experience for you.
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