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...with that caveat in mind that a viewer will have to approach Bent, a reworking of the 1979 Martin Sherman play which treats the persecution and internment of gay men in Nazi Germany. Handsome and likable but startlingly self-centered, playboy Max (Clive Owen) regularly hurts the feelings of his young lover Rudy (Brian Webber) by sleeping around with other men. But one night Max picks up the wrong soldier at a club, and the next morning the Gestapo appears at their door. On the run from the S.S. for two years, Max and Rudy are finally captured...

Author: By Susannah R. Mandel, CRIMSON STAFF WRITER | Title: Melodramatic and Moody 'Bent' Translates Poorly to Film | 12/5/1997 | See Source »

...Clive Gray, a fellow at the Harvard Institute for International Development and one of the organizers of the event, said he hoped the exhibit and discussion would "inspire other students to fight tyranny...

Author: By Sadie H. Sanchez, | Title: Anti-Nazi Group Leads Discussion | 4/22/1997 | See Source »

...Clive, the bland boyfriend (Les Welter, an MFA candidate in theater arts), he helps the conflict roll along, siding with the daughter only to fall to her wrath later for inquiring about personal details. His character seems entirely superfluous, and does not really contribute to the development of the play...

Author: NO WRITER ATTRIBUTED | Title: Matteau Dishes Up 'Soup' for All | 12/12/1996 | See Source »

...Edmonds, 37, is at his best working with others--he is a musical catalyst. Says Arista Records chief Clive Davis: "He brings something special out of the artists who interpret his material. He writes different ways for different people." His work is sometimes slight and sentimental, but over the years, his songcraft has grown stronger. The Day's lyrics have a solid moral core: the family unit is revered, love comes with respect, and men do a lot of crying. "Done 'bout run out of tears," he coos on Talk to Me, a pop-soul-blues number featuring Clapton...

Author: /time Magazine | Title: MUSIC: A HITMAKER AND A GENTLEMAN | 11/11/1996 | See Source »

...identifiably Cirque, yet as distinct as a new Robert Wilson opera production. Like other Cirque shows, Quidam has a dozen or so main acts. As the featured artists parade the genius of their bodies in stunts of strength and grace, Cirque's menagerie (Edvard Munch's silent screamer, Clive Barker's Pinhead and dozens of other glamorous mutants) capers around them like bit players in an amiable madman's reverie. Ballerina-contortionists flex gaily; Pierrots bodysurf across the stage on skateboards; the man with the newspaper floats in midair. Dragone exhausts the laws of geometry, while the performers bend...

Author: /time Magazine | Title: THEATER: FORGIVE THE MIMES | 10/14/1996 | See Source »

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