by Martin Sherman directed by Reid Davis
It is 1998.
How does memory work?
When Martin Sherman's Bent opened on Broadway in 1979, the pink
triangle was not yet a symbol of gay liberation, living holocaust survivors
made up a greater portion of the human population, and HIV (with its
accompanying battle-cry activism) was only an ominous rumble in the
near distance. By documenting the stories of queer men in Dachau, Bent
has given us the now ubiquitous pink triangle and theatrical voice to
what was, until 1979, essentially a remarkable footnote to history.
It is 1998. Time
How do we represent the nature of what is, for most of us, an unimaginable
degree of inhuman behavior? It is possible, as George Steiner has suggested,
that the proper human response to these events is silence. And yet as
humans we demand representation in the public forum of theatre. We demand
to be shown ourselves as we truly are: flawed and glorious, in silence
and sound, in stillness and in movement.
Onward, it is 1998: how do we shape time?
Bent asks questions about what our bodies are capable of, what
our bodies do. A queer kisses another man. A man pulls a trigger. A
man moves rocks from this place to another. A man puts on a jacket and
walks. Bent reminds us, in gestures small and large, how our
capacity for action is limitless.
Christopher Nieto as Max
Alabran as Rudy
Cody Bayne as Wolf
Richard Reinholdt as Captain
Dan Flora as Guard
Randal Wung as Greta
George Maguire* as Uncle Freddy
Jeff Crockett as Horst
*appears courtesy of Actors' Equity Association
Michael Frassinelli, set
design and construction
costume design and construction
Luther Bradfute, sound design
Durand Garcia, fight choreography
Rich Reinholdt, fight captain
Patrick Dooley, artistic director
Opened: Saturday, June 6, 1998
Performed: Thursday & Friday & Saturday at 8:00 pm & Sunday at 7:00
Performed At: Adeline
Street Theatre, 3280 Adeline Street, Berkeley
Closed: July 12, 1998
Frederick Luis Aldama
for SF Weekly
Heather Wisner for SF Weekly
Jones for The Oakland Tribune
Joanne Sterbentz for The