IN the American sector of divided Berlin, at the end of the Second World War, the dreadful fallout of the conflict continues.

A foul-mouthed, culturally thick American major sets out to discover whether the renowned conductor of the Berlin Philharmonic, Wilhelm Furtwangler, was a closet Nazi.

Described as the most brilliant conductor of his generation, Furtwangler had remained in Germany throughout the war despite tempting offers from New York, Philadelphia and Vienna.

Was he trying to save his skin, to protect his art or was he being manipulated as one more propaganda trophy of the evil regime?

Why didn't he follow other artists into exile? How true were the stories of his heroism helping Jews escape? Was he simply too protected in a cosy lifestyle, with ample female companionship, to want to realise the atrocities that were going on around him?

Who you believe, which version you come to accept is worked out in Ronald Harwood's knotty play Taking Sides, which played at Malvern Theatres last week.

Neil Pearson and Julian Glover are convincing protagonists in this duel - both very physical actors demonstrating huge ranges of emotion as the interrogations play out in a shabby office.

They are always compelling to watch and listen to as the balance of doubt see-saws first this way and then that and each takes the moral ascendancy.

Despite historic recordings of Beethoven's music playing into and out of the scenes, Harwood ensures that the ambiguities and uncertainties remain to the very last.

LG