by Riccardo Barone


Sarcastically, cold as a perforating iced dart, she stands and listens. She listens to him, which has very much to say. To confess. A confession that has to emerge up to the surface, soon or later. A truthful truth, being denied and hidden behind “eroic gesta“, behind the fake wheel of world salvation commitment. Behind Schillings, Wagner, Heidegger, Nietzsche.

Unapologetic ideals become roots of delirious daily routine actions; the “ideal” justifies the torture, the “research” allows the carnage.

The drama is divided in three acts: Hubris, Nemesis, Catharsis. Between them some historical footages projected on the background, functioning as fragments of Mengele’s memories, like having a dive into his achievements.

Tim Marriott directs and interpretes  Mengele, with Stefanie Rossi who admirably lets everyone hold the breath in a continuous crescendo of tension resulting in a liberating finale where the nazi doctor faces his destiny.

Tim Marriott’s performance is exemplary, not just intense but impressive and impressing, difficult to forget, for playing the part of a so despicable character on the scene.

The truth is deaf, and will sing Yiddish tunes while guilty screams invoking mercy will resound around.

Considering the Nazism being a topic that has always been presented showing all its raw torturous cruelty, the show is acceptable to even the faint hearted who were cringing in their seats.

A masterpiece, presented by the English actor Guy Masterson for his Lest we forget series, a selection of four different shows based on 100 years of conflict.

 Kryzstoff rating: 5K

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