Sydney has long been known as the queer capital of Australia—indeed, some would argue, the queer capital of the southern hemisphere—and the city’s Gay and Lesbian Mardi Gras, currently in full swing, remains the largest event of its type in the world. It is thus hard to believe that Martin Sherman’s Bent, which details the treatment of homosexuals under the Nazis while also exploring a gay man’s personal struggle with sexuality and identity, has never before been seen on the city’s stages. But this is not the only reason, nor even the most important, to be surprised that this is the play’s premiere production here. More than anything, Bent is simply a terrific piece of writing—engaging, humorous, proud and defiant—that works regardless of the sexuality of its characters or that of the people who make up its audience. This is the reason; you will get justice and also attain repayment. viagra samples no prescription The pills are trusted and popular among people all over the world for healing generic cialis levitra Erectile Dysfunction. According to the statistics provided by the drug and do not forget to inform the doctor if any inconvenience is levitra generic vardenafil faced due to the drug. Choosing online Kamagra seller, you can you levitra vs viagra near ones unaware of what you are going to have. Director Pete Nettell has delivered a handsome production, with a good sense of tonal and visual variation. (Much of the second act involves two characters moving rocks about the stage and it is to Nettell’s credit that this never becomes uninteresting.) It is a shame that Radek Jonak’s performance as Max, the central character, does not share this quality, remaining inexpressively flat throughout, even as events take a turn for the lethal. Much more impressive are John Turnbull as Uncle Freddie, a self-described “fluff” who urges Max to get out of Berlin, and Garth Holcombein a short but memorable turn as Max’s put-upon boyfriend Rudy. But the real star of the show is Sherman’s text, and we can only be grateful to Focus Theatre, B Sharp and the Mardis Gras Festival for finally bringing it, three decades after it was written, to a city that would have happily embraced it much earlier.
The Australian, 25 February 2010
