Saw it last night.
In a word: Stunning.
I have only seen the film version (ages ago), so can make no comparisons to previous productions. The staging at the Taper is pretty minimalist with a large wooden platform, mounted on a turntable stage, serving as the setting for Max & Rudy's apartment, Greta's nightclub, the train compartment, etc. When we move into the camp, the platform dramatically rises perpendicular to the stage and becomes a guard tower. (A photo album can be found on the Center Theatre Group's Facebook page.)
The acting -- omg, the acting! I am not familiar with Patrick Heusinger [Max] but he is nothing short of stunning. (There's that word again.) It's one of those performances that is so real, so raw, so wrenching, that you wonder how an actor can put himself into that place night after night. (I was sitting in the front row and could see tears welling up in Patrick's eyes in various scenes throughout.)
Matching Patrick in intensity is Charlie Hofheimer as Horst. You simply can't buy the kind of chemistry that exists between these two, which is crucial to the play. The power & complexity of their interactions is even more impressive when you consider that half the time they're not even looking at one another. And, as for the Act Two sex scene: Is it wrong to say that it was a major turn-on? The connection between these two actors is so palpable, that it became one of the most powerfully erotic things I've ever seen.
Everyone else in the cast is fine. Andy Mientus is heart-breaking as Rudy, who just wants to dance and water his plants. There is more emotional distance between his character & Max, but that seems to be in keeping with the play. Ray Baker strikes a perfect note as Max's "fluff" uncle Freddie and Jake Shears makes the most of his brief scenes as Greta. Lastly, I must at least make a little mention of Tom Berklund as Wolf -- although there is nothing "little" about him at all.
I did notice a few walkouts, but I think that's a testament to the power of the piece and not a critique of the production. It's not a "pleasant" play, and it challenges an audience to go to places they may not want to go. One thing that became clear to me, however, is that BENT is by no means a "museum piece". I'd wondered going into it whether the advances of recent years would take some of the edge off. Based upon my own reaction, as well as the gasps and sobs in the theater last night, it has lost none of its power and still has something very important to say.