BWW Reviews: BENT, Tabard Theatre, July 8 2010

Bent is an extraordinarily powerful piece of work by Martin Sherman. Its focus on the life and loves of one gay man reminds us that this section of society suffered greatly too during the Second World War, seen as they were by the Nazis as the lowest of the low.

Russell Morton excels as protagonist Max, a wastrel cocaine dealer whose life is thrown into sharp disarray by the arrival of Nazis at his door after being sold out by club owner Greta (Charlie Tighe). Morton more than convinces of Max's emotional turmoil as he betrays long-term partner Rudy to the Nazis. Act One ends with a chilling, horrifying and moving explanation of how he survived the train journey to concentration camp Dachau. Morton is electrifying as he finally tells new acquaintance Horst (David Flynn) the details.

Morton is a commanding presence, bringing a great pathos to this oft-selfish man, who convinces his partners to remain with him even if it is not the best decision they could have made, but is unable to give them all they want, unable to utter the words 'I love you'. Flynn too does well with his role. He brings a great physicality to Horst, effectively showing his physical downfall at the hands of the Nazis, but he is also capable of creating greatly affecting moments - the final few scenes between Max and Horst were painful, powerful and thoroughly shocking.

A quick mention must go to Freya Groves, Howard Hudson and Connie Glover for their sterling work on design, lighting and sound. Groves' set was exceptionally evocative and made the most of a very small space. The barbed wire fence loomed as an unseen and malevolent presence throughout, finally playing a dark and horrifying role that would not have been possible without the clever effects created by Harry De Voil.

Having said this, some of the other performances seemed miscast. Steven Butler did well as Rudy, Max's first lover, who he abandons to the Nazis on the train, but he looked far too young for the role, especially against the indeterminately-aged, but certainly older-looking Morton. Charlie Tighe, too, in the small but important role of Greta, failed to convince - his singing was off, and he failed to bring nuance to the character, rather going for one-dimensional anger. Finally, the Nazis could have been more forceful, most specifically in the scene where Max and Rudy are discovered in the forest, which lacked tension.

Despite these occasional and minor hiccups, which can no doubt be ironed out, this powerful piece is worth seeing - you will be shocked into silence, but for all the right reasons.

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