The Island
KCS Theatre Company, C Venue

Theatre

This is a rare treat: a flawless production of a perfect play. That sounds extravagant, but Athol Fugard's acutely observed, sparely written portrait of the relationship of two political prisoners on Robben Island, certainly deserves the accolade, and I cannot imagine it in better hands. The two actors here - Rohan Sivagnanaratnam and Chris Powell - capture all the subtle nuances of emotion in Fugard's writing, and play these men whose experiences are so extreme, with extraordinary conviction. These performances are exceptional anyway, but are quite staggering given that the pair are only 18 years old. Catch these talented young men if you can - and look out for their names in the future.
                                           
Catherine Fellows
Review from The Scotsman
Saturday, 2 September 1995
Rohan Siva (as he is now called) has recently been playing Laertes in Peter Brook's world tour of Hamlet . He is at present rehearsing Henry V at the National Theatre.  He plays a number of parts and is understudying Adrian Lester in the title role
Never The Sinner
Arts

This revival of John Logan's play about the notorious Leopold Loeb murder that shocked America in the 1920s was a surprise hit at this year's Edinburgh Fringe, and it certainly deserves its short West End run - not least because this production by King's College School proves that amateurs can sometimes turn out infinitely better theatre than professionals.
The cast are all current or recent pupils of Wimbledon's famous independent day school for boys, including a couple of girls (who presumably must come from elsewhere) and one elderly teacher who stands out amongst all the youth in the plum part of the defending lawyer Clarence Darrow (played by Orson Welles in Compulsion, the 1959 film about the case).
Constructed in short flashback sequences, Never the Sinner centres on the Chicago trial of the two intelligent and glamorously rich kids who killed youngster Bobby Franks, chosen at random after an adolescent pact justified by a garbled version of Nietzschian 'superman' theory. But if you expect to delve any deeper into the intriguing relationship between these two young killers, you might end up none the wiser.
Were they natural born killers, or just a couple of spoilt rich kids out for a thrill? Through sensational headlines and court reports, Logan documents without comment  the two boys' homosexual obsession with each other. He tells us what happened, but not necessarily why it happened, and eventually gets most mileage from Darrow's passionate but rather floridly-put humanistic plea for the infinite mercy that considers all." But even here you wonder why on earth the judge showed mercy for this couple of teenage thugs by giving them life plus 99 years.
At the deeper, psychological level the play cops out too, and at times it seems too much of an anti-capital punishment courtroom drama - though you are given fascinating glimpses of a society beyond the interrogation room where the two swanky teenagers charm, giggle and foxtrot their way through the undeniable facts (the superior ubermensch bungle it when Nathan leaves his distinctive spectacles at the scene of the crime), With their Valentino slicked hair, tailored suits and swooning fans they are, on the smarmy face of it, the antithesis of corrupt 1920s Chicago, itself run by mobsters prepared to kill for more tangible reasons than just committing the perfect murder.
Whatever the shortcomings of Logan's script may be, Philip Swan's surefooted direction keeps the interest from beginning to end, and he gets unbelievably assured performances from Adam Chalk as Leopold, giving a moving portrait of a baby-faced obsessive loner, and from Daniel Pirrie, who as Loeb oozes campy charm. A triumph for the kids of KCS, but I'd now like to see them tackle a better play.
                                                         Roger Voss

.
Review from What's On
Tuesday, 22nd October 1996
Adam Chalk and Daniel Pirrie (back)
Daniel Pirrie plays Morris in
Blood Knot .
Theatre/Sarah Hemming
Motivations for murder

0n my way out of Never the Sinner I bought a newspaper reporting a judge's verdict on a boy who stabbed a London headmaster. On the train home, the woman opposite me was reading a book entitled Children who Kill. Certainly, John Logan's play about the infamous Chicago killers, Leopold and Loeb, is nothing if not topical.
Logan's 1985 play (revived at the Arts Theatre, London in a remarkably smooth production by King's College School, Wimbledon) has two strands to it. It is a psychological whydunnit and a piece of campaigning drama. On the one hand, it takes the case of the two "thrill-killers", the wealthy teenagers Richard Loeb and Nathan Leopold who murdered a 14-year-old boy in 1920s Chicago for no apparent motive, and explores their relationship and their motivation. On the other, it examines the reasoning of the fine attorney, Clarence Darrow, who took on their defence, pleading them guilty but arguing that the death penality should not be applied.
By twisting these two strands together, Logan plays the boys' apparent callousness off the lawyer's compassion to get to the nub of Darrow's argument: that mercy, rather than vengeance, should guide the application of law. In his summation, forcefully arguing that the two should not be hanged, he states "I know the future is with me, and what I stand for here." The irony in Logan's play, of course, is that, in the writer's native America, Darrow's confidence in a future without the death penalty has only partially been borne out.
The play is the stronger for not romanticising the two boys. They come over as arrogant, spoilt and foolish. But behind their explanation, that they killed their victim as an "experiment" driven on by a misguided application of Nietzschean philosophy, Logan detects a complex web of passionate feelings. Richard Loeb emerges as an incomplete person - rich, attractive, popular - yet driven by fantasies and a desperate desire for control; Nathan Leopold as the loner who fuelled Loeb's fantasies with his adoration and sexual obsessiveness. As one of the psychiatrists remarks, individually neither would probably have committed the murder, but together they galvanised each other towards destruction.
It is a slick, well made play, flipping in and out of the courtroom, using flashbacks to draw us into the boys' behaviour and employing a gaggle of reporters to suggest the intense excitement of the people of Chicago over the case. The dialogue sports some clunking cliches ("Boys, I got the rest of my life," says Darrow, when one of them asks him how much time he has), but the play still grips.
The young company, directed by Philip Swan, give it a polished production, crowned by two convincing performances from Adam Chalk as the slight, withdrawn Leopold and Daniel Pirrie as the charming, effervescent Loeb; and a touching one from Christopher Day as the great attorney whose wisdom moves him to condemn the sin but "never the sinner".
                                                    Sarah Hemming
Never the Sinner, the Arts Theatre
Review from The Financial Times
Monday, 21st October 1996
Schoolboy pair look set for West End stardom
by ROBIN STRANGER
Arts Correspondent

A SCHOOL production is to take the "unprecedented" step of transferring straight to the West End and is promising stardom for its two leading actors who have only just taken their A-levels.
Adam Chalk and Daniel Pirrie can hardly believe their luck. At 18, they find themselves on the brink of national fame only weeks after leaving school. They open at the Arts Theatre on 15 October not in a professional production but in Never The Sinner, the latest play to be staged by King's College School, Wimbledon.
It is a transfer that some theatre experts believe to be unprecedented, for school plays tend to be reserved only for parents and friends, usually for very good reasons.
However, West End producers Guy Chapman and Paul Spyker believe this production is exceptional. "I suppose I see five shows a week," says Chapman. "In this production there is some of the best acting I have seen all year.
"I was really, really impressed, particularly with Adam and Daniel. They were technically very assured while having the innocence required for their roles."
The two friends play two teenage murderers in the play which Is based on the real-life Leopold and Loeb case in Chicago In the Twenties. It became notorious because Leopold and Loeb killed a 14-year-old for no apparent reason other than a warped interpretation of the philosophy of Neitzsche and an intellectual interest in committing the perfect murder.
Chapman is conscious of "the huge risk involved in taking something like a school production to the West End" but he said: "We feel these two will make it worthwhile. As for Adam and Daniel, who have already appeared in the play with great success at the Edinburgh Festival, they do not seem at all overawed by their sudden promotion."After the reception we had in Edinburgh, this doesn't seem so extraordinary," said Daniel. Adam has already been noticed by the advertisers and is about to be seen as one of the new faces of Twix."My friends are giving me a bit of a hard time over it but I need the money," he said.



Interview for the Evening Standard
Friday, 4th October 1996

Never the Sinner by John Logan in Edinburgh & London's West End
Review from The Scotsman
Friday, 30th August 1996

The Island by Athol Fugard .
Click title for reviews
Man, Beast and Virtue
KCS Theatre Company, C Venue
Theatre

Rarely can there have been such a hilarious production of Pirandello's biting comedy as this one, in a new and forthright English version by Charles Wood and imaginatively directed by Philip Swan. It is all the more remarkable an achievement given the youth of the cast.
Michael Nollet is particularly amusing as the tutor Paolino, one moment complacently lecturing his bleating, giggling pupils on the meaning of hypocrisy, the next frantically trying to cover up his adulterous behaviour, and always with a wide range of comic expressions. Vikki Tracy's Mrs Perella is delicately and respectfully virtuous, despite having been so indiscreet as to get pregnant by her lover.
Robin Lindsey plays the bestial Captain Perella as a blunt English Northerner, while Harry Williams gives a splendid performance as his imperiously rowdy son, Nono. Despite the farcical nature of the plot, which centres on an attempt to feed an aphrodisiac to Captain Perella, Pirandello is also raising serious points about the roles that social conventions force people to play, and those points are made clearly here.

                                                         Colin Affleck

Man, Beast and Virtue by Luigi Pirandello
Review from The Scotsman
Wednesday 1st September 1993
My Children! My Africa! by Athol Fugard
Not reviewed by The Scotsman
Reviewed in KCS Magazine 1994
My Children! My Africa!

Athol Fugard's explosive work exploring the relationship between three South Africans; a 57 year old black teacher, an 18 year old black boy and an 18 year old white girl, proved an inspired choice for a sixth form play. It could have all been terribly different. At a draining two hours, the play needed to hold, or rather grab the attention of the audience, and maintain it in its grasp until the emotional finale, or else the alien nature of the issues tackled would have caused it to drag. Thanks to three superb performances this was not the case.
The storyline revolves around Thami Mbikwana, played by Chris Powell, a young man imbued with the spirit of revolution, who desires to break apartheid-ridden South Africa with violence, as practised by his 'Comrades'. At school he is taught by Mr M (Rohan Siva), a traditionalist who also resents deeply the white oppression but believes that education is the solution. Isobel Dyson (Helen Stern) is a middle class white girl, who, having become friends with Thami during an inter-school debate, is paired by Mr M with him in a literature competition, and thereby becomes entangled in a web of complex indigenous loyalties.
The general consensus was that Chris Powell was astonishing. The general consensus was right. He brought a threatening element to the basically friendly character of Thami, his facial expression and magnetic presence revealing a latent potency. When released, as it was in the close of the first act, this power was made more than mere diatribe in a speech that fully embroiled the listener in his predicament. His understanding and reading of the part was near perfect, and his aggression towards and contact with the audience also effective.
By praising Chris, I in no way wish to belittle the other two actors. A play cannot succeed if one third of the cast is weak. Mr M was perhaps too sprightly for his years, but was impressive when thundering out his viewpoint, while maintaining at least a superficial sense of superiority over Thami. The part of the intruder, the white girl, was possibly the hardest to play, requiring a portrayal of friendship and respect throughout, whilst also needing to convey the dual loyalties that Isobel experiences. Helen Stern was more than equal to the task and such was her achievement that her character won the sympathy at the end, after an excellent performance.
Much credit must of course go to the all conquering triumvirate of directors, Nick Dempsey, Jai Nathan and Nick Wong, firstly for having the vision to choose a 'difficult' work, and then secondly for realising it so well.
The sparse set and ideal intimacy of the Studio also contributed to the serious intensity of a production that will surely be remembered.
Tom Morton


Chris Powell as Thami Mbikwana
in My Children! My Africa!

Rohan Sivagnanaratnam
Four Letter Word by Ben Brown
World Premiere Performance
Winner of the Cameron Mackintosh Award for New Writing

Never the Sinner
KCS Theatre Company,
St Columba's by the Castle

Theatre

There have been several versions of the story of Leopold and Loeb on stage and screen, but John Logan's account of the two rich young men who murdered a boy to prove that they were Nietzschean supermen is perhaps the most revealing and most cleverly structured.
This production contains superb performances of these two characters. Daniel Pirrie's Richard Loeb is a tour de force: flamboyant, posturing, ironic and with the magnetism that the part requires. Adam Chalk is equally impressive as the quieter intellecual Nathan Leopold, conveying the depth of his obsessive love for Loeb, at first subtly and ultimately movingly. Both have developed realistic mannerisms for their characters and they brilliantly show the complex attraction between them.
Despite the rather grim subject, the play is often amusing, partly due to the witticisms of the killers and partly because of the courtroom humour of their lawyer, Clarence Darrow. Christopher Day projects both his legalistic cunning and principled stand. Simon Sandland makes a worthy opponent for him as the politically motivated prosecutor.
In recent years KCS, directed by Philip Swan, has established a reputation for thoughtful productions of very high quality. This play enhances that reputation even further.
Colin Affleck
Never the Sinner

John Logan's enthralling play set in twenties Chicago recounts the true story of Leopold and Loeb, two rich young men in their late teens, who murdered a 14-year-old boy at random as an experiment in Nietzschean superman philosophy. Partly courtroom drama, partly flashbacks to the boys' crime and earlier life, the play fascinatingly probes their bizarre mentality.
With the press whipping up popular sentiment in favour of capital punishment and Clarence Darrow, the liberal defence attorney, pleading for a humane approach, the parallels with today are clear.
In this smooth and fast-moving production by KCS Theatre Company, Christopher Day gives a fine performance as Darrow, inch by inch setting a terrible crime in the context of the boys' arrested development and immature fantasies. Daniel Pirrie triumphs as the elegantly disdainful Loeb, while Adam Chalk strikes just the right stance of uncertain bravado as his accomplice Leopold. The rest of the cast support very effectively, and the staging under Philip Swan's accomplished direction is polished and precise.

Bian G Cooper
.
Review from The Stage
Wednesday, 12th September 1996

Inside the Island by Louis Nowra
Reviewed by The Scotsman
Friday, 29th August 1997


Soldiers caught up in a harvest of death

Inside the Island, C Venue

Theatre

An outbreak of ergotism, or St Anthony's Fire, in New South Wales in 1912 is the subject of Louis Nowra's epic, visionary play. It is based on an outbreak of the desease when an army regiment was given a meal made with infected wheat. Ergotism causes gangrene, convulsions and hallucinations and induces psychosis.
The broad sweep of Nowra's landscape, the way he establishes a world and then shows its destruction, recalls Gone with the Wind. The action features land and mill owner Lillian Dawson, her alcoholic husband and their daughter. This colonial version of a genteel family is contrasted with neighbours, millhands, farm labourers and soldiers. Much dry humour is evoked by Nowra's carefully observed portraiture. Later the mill is set on fire and is consumed, as are harvest, field and house.
Mrs Dawson has family in England. Her lace and lemonade, her church-going, her charitable works and hospitality hide a cruel streak and a snobbish, hollow heart. Clare Murphy in this role has the range she needs to capture both the wry and the chilling. The play is an allegory for the wrath wreaked on itself by an English-derived ruling class
The acting is not of the slick variety, yet under the sure direction of Philip Swan, the senior members of King's College School put no foot wrong with Nowra's demanding script and give an account of it full of commitment. The design is of the faultless high order needed to effect an apocalypse in a small church hall, with special make-up, lighting and sound creating the fire and the seizure by madness of the soldiers. This   breath-taking tale of terror is heart-stoppingly told.

Bonnie Lee
Reviews in Edinburgh
Khalid Abdalla as Mr Dawson
and Katie Smith as his daughter.
in Inside the Island


Khalid Abdalla plays Zacharias
in Blood Knot
Chris Powell as Winston in The Island
Someone Who'll Watch Over Me
by Frank McGuinness
Reviewed by The Scotsman
28th August 1998



The Zoo Story by Edward Albee
Not reviewed by The Scotsman
Reviewed by The Herald
Wednesday, 25th August 1999



Khalid Abdalla as Jerry
in The Zoo Story
Alex Winckler and Tom Cowell in
Someone Who'll Watch Over Me
Captive Hearts
Someone Who'll Watch Over Me
KCS Theatre Company, C too

Theatre


Noon is a tricky time for a full-length, two-and-a-half hour modern classic which wrings out the soul and hangs it up to dry. It's a measure of the confidence, as well as the ability, of top school theatre company KCS that they make this work in the tiny, airless venue that mirrors so well the play's setting in a Beirut hostage cell.

Frank McGuinness's play, winner in 1992 of two major awards, uses the stories of Brian Keenan, John McCarthy and Tom Sutherland as a springboard for presenting three imaginary characters of the same nationalities in the same situation.

The Keenan character, transported from Belfast to Dublin, lacks some of the working-class aggression of his original, as well as his large-heartedness. The American is more loosely sketched.

But McCarthy's replacement, here an AngloSaxon lecturer, is McGuinness's triumph: supporting Peterborough United and proud of all England's foibles from Virginia Wade to Chitty-Chitty- Bang-Bang, he grows into the Irishman's great tribute to the Englishman; buttoned-up, sentimental, Oedipus-complexed but nonetheless indomitable, a man before whom the Irishman finally falls mute in admiration.

Glaswegian-born Arab director Khalid Abdalla and his three school actors realise it superbly, breaking out of the cramped space with lyricism, laughter and lunacy before falling back into it with anguish, madness and fear. One dies and one escapes: but what remains is tenderness, poetry and hope.
Sara O'Sullivan


Alex Winckler
in Someone Who'll Watch Over Me
The Zoo Story
KCS Theatre Company, C Venue

TWO pupils of King's College School, London (Khalid Abdalla and Tom Try) perform Edward Albee's critique of 1950s America with almost uncanny professionalism. The fact that the independent day school was the first school ever to perform commercially in the West End and that this is their seventh Edinburgh Fringe proves their talent and enthusiasm. Albee's play, set in Central Park, New York, satirically challenged society's complacency and explored the reactions of socially alienated people. The ultimately tragic outcome seems to be Jerry's only escape from the cheap boarding house, the landlady, the dog, and the never-ending stories that haunt his life.
Although both actors convince with their performances, it is Khalid's portrayal of Jerry that enthrals. The bitterness he feels towards Peter (and his parakeets), a man he has only just met, is created effectively and the audience senses the destructive nature that lies within this man with every quip and subtle move. Two Pirandello plays are also being performed - go for the triple bill  under the title "Three Plays is Search of A Title".
Marianne Gunn

The Imbecile by Luigi Pirandello
Reviewed by The Scotsman
Monday, 30th August 1999



A deadly dilemma
The Imbecile, C Venue

Theatre

A man dying of TB commits suicide by hanging himself. Leopold Paroni, a newspaper editor, brands him an imbecile not to have used his self-imposed death sentence more creatively - by first shooting the socialist Mazzarini - and boasts that he would have paid him the train fare to Rome to do so.
One of his supporters, Luca Fazio, also dying of TB, makes him eat his words at gun-point and sign himself as the only imbecile for making such a stupid game of life and death, before Fazio leaves to commit suicide in his turn.
KCS Theatre Company captures all the bitterness of this savage little Pirandello piece. Khalid Abdalla is a fine Paroni with an Al Capone accent, reducing slowly to a whimpering, humiliated wreck as required. Ilan Goodman is the appropriately ghostly Nemesis who wheezes most convincingly as he waits for the moment to bring Paroni to book.
On the whole another impressive production from a highly distinguished company whose reputation for dark psychological drama is once again confirmed.
Sara Parvis
Bellavita by Luigi Pirandello
Pick of the Day
The Independent
Tuesday, 24th August 1999



If you go to see anything today,
then choose from one of these  must-see shows

Bellavita
C Venue 19

Pirandello's unsettling and mocking tale of a husband, a lover and a dead wife is executed with verve and panache by King's College School. Emotions run high and the tension develops as Alex Winckler, in his brilliant performance of Bellavita himself, counteracts the lover's frustrated jealousy and paranoia by drowning her lover with "Stinking Kindness".
Daniel Pirrie and Adam Chalk
Adam Chalk in as Nathan Leopold
in Never the Sinner
Tim Hammond, Jack Williams
and Michael Nollet
in Man Beast and Virtue
Michael Nollet in Four Letter Word
Click the red triangle to return
Never the Sinner
in The West End
Blood Knot by Athol Fugard
Not reviewed by The Scotsman
EdinburghGuide.com
Blood Knot (page 105)
Drams one
Venue The Underbelly (Venue 61)
Address Edinburgh Central Library, George IV Bridge (Entrance on Cowgate)
Reviewer Gus Macdonald

The KCS Theatre Company production of Athol Fugard's 1967 work Blood Knot is an impressive affair indeed. The play is the story of two "Cape Coloured" brothers, Morris being ostensibly white and Zacharias black. Isolated in poverty together the brothers find that they are a burden to each other such are the differences in their personality, ambition and appearance. Thus we find Morris who wants to get out of their shantytown by buying a farm at odds with Zacharias who believes in living for the moment.

Daniel Pirrie (Morris) and Khalid Abdalla (Zacharias) both have huge stage presence and are very exciting talents who work well together on stage, which makes them particularly believable as the troubled brothers they portray. They express the racial tensions that blighted South Africa during apartheid with consummate ease and similarly manage to show that a "Blood Knot" cannot be ignored however much it may impede the individual. The only quibble about the acting would have to be with the accents. They took some time to settle with the first half an hour seeing South African alongside the eclectic mixture of West Indian, Irish, Indian, Australian and most surreally of all Brummie. Once into their stride however they were both absolutely spot on.

The crucial question that must be asked of Blood Knot is does it still retain the same relevance in 2001 as it did in 1967? The honest answer to this is probably not, and not even in a year where Britain has been blighted by racial tensions. Yet there is enough here to still make a very thought provoking and powerful piece of theatre, particularly for those that can remember the zeitgeist of the period.

Until the 26th August 14.10 (16.20).
© Gus Macdonald 22 August 2001


 

22 August 2001
Khalid Abdalla has just won
an award for best actor
at the  National Student Drama Festival
  in Scarborough
He has played Tamburlaine in Tamburlaine the Great at the Rose Theatre in London, and has starred in a new play at the Hammersmith Riverside Studios.

Khalid has recently starred in the Paul Greengrass film, United 93
Incident at Vichy by Arthur Miller
EdinburghGuide.com
26th August 2004
EdinburghGuide.com

Rating Guide
None = Unmissable

                                  = Unwatchable    

Incident At Vichy
by Arthur Miller

Drams None needed - it will haunt you.
Venue The Underbelly (Venue 61).
Address Entrances in The Cowgate and Victoria St.
Reviewer Thelma Good.

We look back 60 years and see our own present in Arthur Miller's Incident At Vichy. With identity papers on the cards in modern Britain and suspicion of difference and 'foreigners' spewing into our every life, it's not hard to put yourself into the shoes of these ordinary men and one boy who decide to stay in Nazi occupied France or even into those of the German officer or the French policeman. Directed by Philip Swan, this school company of actors is impressive for its highly professional production, where each character's personality and story lives in the memory.

Opening with the German officer, the doctor and the French policeman walking back and forth up the sides of the auditorium so you have to pass them to get to your seat, it creates an uncomfortable feeling which effectively establishes the strength and menace of a rule backed by laws you may have need to fear. On the stage are bodies thrown into a heap, as if they were just rubbish to be disposed off. Then they slowly come to life and arrange the simple set of benches and boxes, taking us back to when, having been rounded one by one, the detainees arrive and wait to find out what is going to happen to them.

Miller's characters range across age, professions and sensibilities. Each young actor without exception convinces, finding the core of these men caught up in an incident of war motivated by fear. No one performance stands out because all sixteen are pitched just right, the young waiter, the actor, the painter, the boy, even the old Jew who never speaks. And the moment when the Prince decides he will stay when he could go sends you away humbled by those who change the course of their life when they could walk away.

Philip Swan has directed all the cast to pitch perfect performance, it's a considerable achievement in such a large cast.

© Thelma Good 26 August 2004 - Published on EdinburghGuide.com
Runs to 29 August at 15:55.
Company KCS Theatre Company.
Director’s Website www.philipswan.homestead.com

Another success from KCS 01 Sep 2004
reviewer: Jane Solloman, England

I have been going to the Fringe for the past 20 years and have seen countless productions. A few years back I saw 'Inside the Island' performed by KCS and was absolutely bowled over. But that did not even come close to this show. The ensemble work was subtly perfect, every character fascinating with up to ten on the stage at the same time. Sure, ten might not sound much on a professional stage, but at this venue they filled the stage in a way that was neither cramped nor spacious. I had to wait for one of the boy/men/performers in 1940's civilian clothing to allow me to get to my seat! (He was moving in slow motion by the way)This really set the atmosphere for me and as I looked around I noticed other fellow audience members under the same predicament as myself as German officials and French police patrolled the audience. I thought the 'actor' Monceau was outstanding, so too was the 'prince' and the 'doctor'. All three characters from contrasting backgrounds and with contrasting perceptions of the situation. The 'doctor' Leduc provoked the tears for me, that is to say that most of the audience were in tears by the end. He was truly magnificent in conveying Miller's complex play on human responsibility. But my main praise must be reserved for Philip Swan, who directed so convincingly this 16-man cast. Even the smaller parts added another dimension to the performance. The police guard who had to deny his friend, the waiter. The whimpering old Jew and his pillow of symbolism. The civilian detective, used and manipulated by the Germans to round up the Jews. The casting was so perfect, I would have quite easily presumed the play had been the result of open auditions had I not known that it comes from a public school theatre company from London. Subtlety is Swan's greatest asset, if only a few of the other shows up in Edinburgh would realise this. Bravo KCS!