Time Out, May 2, 1990, by James Christopher
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This curious script, written by Friedrich Hebbel in 1844 and 
first performed in Konigsberg in 1846, was undoubtedly in 
the vanguard of German plays that broke new ground in 
exploring social conflicts. But Theatre Manoeuvres' wildly 
inappropriate decision to transplant it to Hicksville, Texas 
during the 1950s undermines any notion of what a programme 
note optimistically calls its "striking modernity." An 
archetypal woodsman, neurotically warped by bible-speak and 
wielding his pride like an axe, instigates a grinding two 
hours of audience misery as he sets about ostracising his 
daughter's chances of marrying the man she loves before 
wandering off to draw consolation from a deaf, and quite 
possibly stuffed, ancient lumberjack backstage. But it's a 
small town and the Gate is a small theatre, and Anton, for 
it is he, wanders back on stage to deliver yet more lengthy, 
self-pitying dirges before his wife drops dead, his daughter 
jumps down a well and his potential sons-in-law shoot 
themselves. Even two hours of over-ripe histrionics, angst-
ridden cameos, twangy forced accents and suitably wooden 
performances could not compete with the genuine shudder of 
relief as the lights went up and a bemused Anton finally 
meandered into the distance, no doubt wondering what all the 
fuss was about.



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                     Bentley's Bedlam
            http://www.BetsyDa.com/bedlam.html

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