Theatre

This poignant piece gives a new perspective on The Holocaust with an aching clarity of emotion and striking simplicity. Benjamin, a Jewish expert horologist is surviving his imprisonment fixing watches (implicitly taken from prisoners) which are then sold on. Hans, a gentle, fastidious and very camp gay man is thrust into his Sachenhausen cell, claiming the same skill, which he knows will keep him alive as long as he is useful.

The action never leaves their cell, and the villain is another prisoner, a criminal in the same labour camp; the audience never even see a Nazi guard. This claustrophobic element of the piece makes the permanent fear and huge tragedy entirely personal. The wider world is only mentioned in reference to their constant fears for their families. The familiar set up of two very different men gradually bonding over a forced shared experience nevertheless feels like a fresh take on this piece of history.

Roy Horovitz’s Hans is endearingly hopeful, and provides some gallows humour which makes his character all the more likeable. 'Yellow and pink just aren’t in fashion' he says, referring to the yellow Star of David and the pink triangle they are forced to wear. Lee Gilat’s efficient staging makes effective, almost film-like, use of the operatic arias both men love to ratchet up the emotional tension.  However, the ticking clock imagery is slightly overused.

Despite the short running time, there is a satisfying flow and structure to the story and the way in which the relationship between the two prisoners and their characters develop. For such a dark topic the ending even contrives a sliver of hope. An exquisitely painful tale, compellingly told.

'The Timekeepers' played at Sweet Venue Apex, Grassmarket, Edinburgh.