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.entertainmer 'Bent' wortl By John Vaughan Confronting "Bent" is a worthwhile experience for a thinking theatergoer, though the reasons for this may not lie along the usual lines Of measuring HrnmnHn wnrth Now playing at Longstreet Theatre, "Bent" offers its audience a structural split with curious successes and flaws to consider. Happily, USC's production cements the "worthwhile" in the experience through fine exposition; the decisions made in design, acting and direction highlight the play's quirks. WRITTEN BY Martin Sherman, "Bent" concerns the treatment of homosexuals in Nazi Germany during World War II. The play strives to strike powerful chords ? man's inhumanity to man, individual deliverance, the ultimate power of love and friendship ? through its focus on Max and his imprisonment in Dachau, a Nazi concentration camp. The drama enjoyed a successful, one-year run off-Broadway in 1979-80, and also played in London. Richard Gere was generally acclaimed as Max in New York, though tu?? ~ i~ ~ * 1 *? duuicntca uicic ctis>u entouiiicreu me strange challenges of Sherman's work. "Bent" opens in surprisingly contemporary style, with Max awakening hung c or in his small apartment after a night of liquor, cocaine and sado-masochistic sex. His live-in boyfriend Rudy slowly and humorously reveals his antics of the previous night with a "leather boy" called Wolf ? until the Gestapo bursts in the door to brutally slash Wolf's throat. Max and Rudy dash into the streets as slides flash on the four screens above Longstreet's arena theater, informing us that this is Berlin, 1934. The previous night was June 30, "The Night of the Long Knives," when Adolf Hitler ordered the gay faction under his left-hand man, Ernst Roehm, murdered. THE DRAMA continues in urgent fashion, as Max and Rudy attempt to flee the Local theater st From Staff Reports old PI "Heaven Can Wait," a comedy/fantasy based on a popular V frl:jBBBgg|BaBgaSffi|M /?*| m m w*r*^ .,-.dl HB&$^^SBSMB^SBS^SSBSS^^^^S^BS^^^^SSBSMESi aBBEx^^y^M: . .^. -'{_;y>_ -v Debra Leopard, Jerry Stevenson, Larry Webste Ant I Thnatfo'g nrmiiiMin? nf "U??..?.. p.,., \n?;? I ? w r. vi iiuuvuii uuii wan. Independent film From Staff Reports The Southern Circuit, a series of indep< films, will premier at USC this spring and fall. Films such as the animated, academy-^ Hungarian production "The Fly" will show So how filmmakers in communist countries have express themselves despite social and politica Several Hungarian and Polish films sho' makers overcoming restraints placed on th ment-run societies will be shown at 2 p.m. College of Nursing auditorium. The Hungarian independent filmmaker, wri Peter Tiborsky will be present at the showing compare Hungarian and Polish animation. He about how filmmakers in communist count restrictions. ??? III Mill Bill f iwhile for Jr ppir ' rim - j^^^ERlsBBiK # i w^ Max (Richard Jennings) and Horst (Rich Berg) "Bent," now playing at Longstreet Theatre. country, only to be arrested and thrown on a train bound for Dachau. The violence is shocking and the homosexuality frank, but this is the nature of Sherman's play. The drama's structural split is between its two acts. Act One is a violent, high-pitched display of agitation, while Act Two is repetitive and almost dream-like, in contrast, somewhat melodramatic. Director Rick Rottschaefer has realized ages 'Heaven Ci script, opens tonight at West based umbia's Act I Theatre. Comes Written by Harry Segall, the play is Te^eral \ IJ || popular f \ this yea ^NkJH Larrj '""" -1 B|f with D( Bf Jones a ^jftg and Bil KftHttH Jordan. jl I ^vWI^PP^^P with pe iB^S: ^ are ^ 1 cuiu se ir and Penny Jonas take lead roles in formati 7550. s circuit premiers mdently-made .ln , as in all com J cinema production is funded 1 state-operated movie houses, iward winning clubs managed by Communis! uth Carolinians i had to learn to Any filmmaker trying to i 1 pressures. contradict tho. vipwe nf ? - V?TU V* VIIV V>V wing the film- subtly, or it will never be expi em in govern- f?r distribution. Sunday in the J;m Millsappl; a mcdia ar contradictions to Communist ter and scholar allegorically because of the op ; to discuss and will also speak These filmmakers must ma ries overcome government approval and stil viewers, Millsapps, an indepei linking theat I IIP lilHiP' Ji jwJ|^B :-y. ilk 11 ^flHinMH^H lljSjj|j^ v ^ s Photo by Jim Van Arsdale face brutality in a Nazi concentration camp in the successes and flaws of the play, though he has not attempted to bolster the weak spots. The use of four screens above the stage embellishes the mood without unnecessary distraction, and the constant presence of Nazi guards over the viewer's shoulder is ominous. Rottschaefer is on target with his minimal settings, and the technical worn, from Carey Robinson's lighting to Jeff Cone's costumes, is strong. an Wait' Frem on another, entitled "Here Mr. Jordan." Segall's play TO SE ade into a successful film '; i " years ago, with Warren Julie Christie, Dyan Cannon, From Staff Re ; Grodin, Jack Warden and Miche, Bui enry in lead roles. tonight in US< ven Can Wait" follows the of the llth am ires of Joe Pendleton, who _. . in untimely death through the f g of a young angel. He returns Krench-laneu th as another person, with onthethemi ?c mcliiio UJ & vouiio. 's production will be directed Butor, a ri Quick, who has brought Louisville thi trap" and "Shenandoah" to his wor^ in I success at the young theater ference, are i r Languages ai ' Webster will portray Joe, ^ * J ;bra Leopard as Julia, Penny ^ s Betty and Jerry Stevenson as ^jpt >erry Simpson will play Max mW 1 Canady will appear as Mr. * )lay will run through April 9, rformances at 8 p.m. except | lay matinees at 3 p.m. Tickets for adults and $3 for students nior citizens. For more inon, call the box office at 796- I at USC 1 ft munist countries, professional t)V the Bovflmmpnt hanHlo^ K.( -- ' _ 0 v, .W..U1W yjy vainer conic television stations and cinema with the Fr< : Party Loyalists. present, in G will run from make a statement that would sarong ^ mmunists must make his point France and ? essed to his people or released universities, \ ts department instructor, said Butor's ad< Party policies must be made reservations tpressive political climate. 777-4B81. Eegi ike their point skillfully, to get ^ sessions, 1 communicate the message to rorimormatl ident filmmaker, said. ergoer BUT "BENT" is a performer's showcase. and while the audience need not be mesmerized with empathy, it must be challenged by character dimension. Chuck Whetzel is simply terrific as Rudy. His is an individualized performance of great conscience, balancing timidity, humor and fear with a sound foothold of ^ human dignity. Likewise, Rich Berg delivers a superb interpretation of Horst, a homosexual of equal fiber who befriends Max in Dachau. Berg is wonderfully gaunt and glib, inspiring the viewer's respect and inviting his sympathy. Mert Hatfield couldn't have missed if he tried as the brutal, hulking Gestapo officer. But Bryce Taylor shouldn't be overlooked in a brief appearance of disturbing decadence ^ as a transvestite cabaret performer. THE PROBLEM with the role of Max is that it asks the actor ? in this case the head of USC's acting program, Richard Jennings ? to be "wracked" with emotion from the outset, conversely shading his emotional crescendo with the second act's low-key surface structure. Jennings' finest scenes attest to the principle that "less is often more." When he is forced to beat Rudy to save his own life, Jennings dazedly quivers above the brink of sanity until his horror and rage melt into a ^ violent fury. His supremely anguished, muffled moan when Horst signals his love before a bitter end packs far more power than the histrionics the script seems to demand from him in the first act. Despite the script's curious weaknesses, the production is certainly in the "plus" column for USC. While some viewers may find the violence and brutal decadence shocking, the play is worthy of consideration, and offers a solid evening of theater. "Bent" runs through Sunday, with performances at 8 p.m. except for a 3 p.m. ^ aunuay maunee. ncKets are $3.50 for the general public; $2.50 for USC faculty/staff, senior citizens and military personnel; and $1.50 for students. For more information, call the box office at 777-2551. ch novelist ieak tonight . ports or, French novelist and critic, will speak C's McKissick Museums Art Gallery as part lual French Literature Conference. ence ? which officially opened last night *mance by the Comediens Carolingiens, a age student theatrical troupe ? is centered "The French Novel: Theory and Practice." ^ visiting professor at the University of s spring, will speak in English and read from French at 8 p.m. His reading, and the consporisored by USC's Department of Foreign id Literatures. i v. ^ A leader of the f t?#i ?tr?t #? 4. MM #1 HHnnwS "Uiiauuiun ami hHHHBBBHSI children's books. lichel Butor & iraice sessions have been scheduled, dealing inch novel from the Middle Ages to the ambrell Hall room 429. Today, the sessions 9 a.m. to noon and 1:30 to 4 p.m. Tomorrow, vill run from 9 a.m. to noon. Scholars from leigium, as well as from several American vill present papers at the sessions. iress is free and open to the public, but are recommended. For reservations, call t stration for the conference is $15. It includes coffee breaks and a cocktail party tonight. on, call 777-2520 or 777-1881.