25-27.

Six Degrees of Separation, a drama based on a true story, has received critical acclaim in New York and London. Now Bermuda has a chance to see this provocative and ambitious piece, in a production that is something of a triumph for all concerned.

The very nature of the play means that any racial divisions (however subtle) of the local theatre scene have been swept aside. The results are refreshing and invigorating -- and hopefully, an encouraging sign for future theatre ventures.

John Guare's play is a heady mix of suspense and dark comedy. Taking the improbable, but true case of a con-man extraordinaire, who selected the gilded denizens of Park Avenue to give life to his fantasies, Guare has fleshed out the bare bones of the story (which he happened to read in a newspaper) with some powerful and acerbic comments on human nature.

If the villain doesn't exactly become the hero, he does become an involuntary illuminator of the human race, as his actions reveal the hypocrisy, gullibility, sobbery, greed and denial of those drawn into his web. Best of all (and all too rarely, these days) this drama is beautifully crafted, with a script that is both highly comedic and ultimately, moving.

The intricate and fast-escalating plot which moves through a variety of locales requires a director with intelligence and nerves of steel. Patricia Pogson again proves that she has both and with this production, moves into the top rank of the Island's theatrical coterie.

With a degree in theatre education from Howard University under her belt and years of practical experience, this must still have been a challenging play for her, dealing as it does with a complex theme played out in the glitzy world of rich whites and the underworld of homosexuality. Ms Pogson rose magnificently to both the intellectual and emotional demands of the piece and has produced a play that will be long remembered for the quality of its acting and visual impact.

Connie Dey brought her usual artistry and sheer professionalism to the central role of Louisa who personifies the insularity of the artsy rich; but while she was the first to fall for the charming stranger, she was also perhaps the only one to reveal, at the last, a sense of genuine compassion.

With a voice worthy of any `grand dame' of the theatre, Connie Dey's sense of timing enabled her to play scenes of high comedy and quiet tenderness with equal conviction.

She was superbly supported by Paul Matthews as her husband, Flan. This was a difficult role, in that the character is considerably older than Mr. Matthews is, but he went well beyond the aids of effective make-up in establishing this persona for whom the world of fine art has assumed more reality than the family around him.

After a slightly diffident start, Danjou Anderson soon settled into the pivotal role of Paul, producing a performance that was virtuoso in its range; his naturally resonant voice was easily able to switch, as his role demanded, from straight flattery through to wittily ironic observation and finally, to leave us pondering the true nature of his so-called criminal acts. For Paul is perhaps the ultimate artist amongst this collection of hangers-on. As he says, "the imagination is the past we create to take into the real world''.

It also takes courage -- especially in reticent Bermuda -- to play a role that is explicitly homosexual. Danjou Anderson brought his professional training and an inborn sensibility in treading this moral minefield with such finesse.

This last attribute was also true of Michael Hind, making his adult stage debut in a role that would surely test the nerves of even the most seasoned performer. As the homosexual friend of Paul, described at one point in the proceedings as "the Henry Higgins of our time'', Hind gave a finely mature performance. He also took on the minor roles of the Hustler and the Detective.

Making a welcome return to the stage after a long absence was his father, Dusty Hind, sporting a marvellously authentic accent for his role as a South African billionaire. Even in this smaller role, his professional acting background was immediately apparent in the delivery of every line.

Laura Gorham and Richard Briggs were the effective and comical duo who were also willingly deceived by Paul's blatant variations on the appeal of social snobbery, as was Dal Tucker in the role of Dr. Fine. He also stepped in at the last moment to take on the additional role of Rick with apparently total confidence.

This play gives an unusual opportunity for younger actors to shine and every one of them, even in cameo roles, gave beautifully convincing performances.

This was especially true of Jens Hansen, the grass-smoking rebel and the talented Ingrid Welch who turned in a spirited performance as the daughter.

Rounding out the excellent cast were Russell DeMoura, in the double roles of Ben and the doorman, Carolyn McNally and David Petty.

In a play that relies heavily on imagination, designer Steve Dudden's sets were classically simple and dramatically lit. The only jarring note was to see Sheilagh Head's magnificent `Kandinsky' painting stuck high in the air like a decorative sky-light rather than a picture.

This play, which confronts, head-on, some controversial issues will not be to everyone's taste. But for those who love theatre that is thought-provoking as well as entertaining, Six Degrees of Separation is a must.

PATRICIA CALNAN DIRECTOR PATRICIA POGSON brings both sides of the theatrical divide together in Linda Paynter's City Hall production of Six Degrees of Separation. Tonight is the last chance to catch this outstanding play.