The context of an international school added an extra dimension to the shooting, with the students coming from all parts of the world. They are the primary victims of shooter’s frenzied attack, but they also carry part of the guilt, for as the narrative unfolds it becomes clear that they had banded together to bully and humiliate him. Soprano Lucy Shelton was the teacher who witnessed the unfolding events and acts as a narrator, relaying her impressions and her own sense of guilt to the audience. She made a good impression, presenting her lines in a way which was similar to sprechgesang, which worked well and added to the vocal textures of the work. Markéta is the waitress’ daughter and one of the shooter’s victims. She is a carefully drawn figure; excellent at her studies, very studious, good at writing songs, maybe a little bit of a loner, but not unpopular. Vilma Jää, a Finnish folksinger-songwriter played the part. She possesses a high, flexible soprano, which she used to create the most remarkable lines through the interpolation of herding calls once used by the shepherds of Karelia, which occasionally gave her voice an almost disembodied sound. At the final curtain, she received loud applause, such was the quality and impact of her vocal skills. Soprano Beate Mordal performed well as Lilly. She was the ring leader in the bullying incident and eventually slaughtered by the shooter. Julie Hega playing the spoken part of Student 3 sympathizes with shooter after his humiliation, and planned the killings with him. It was a substantial role which displayed her ability to develop a truly believable and ultimately confused character. Simon Kluth, Camilo Delgardo Diaz and Marina Dumont also impressed in smaller acting roles, in which their fear during the shooting, and the depth of their trauma were convincingly essayed. Ultimately, this was not a work about a school shooting; it could have been about any traumatic event. This was about the consequences: the guilt, the self-deception, the lies and about coming to term with what had happened, about confronting the past and trying to carve out future lives. The fact that the work has such a tense and strong narrative as a backdrop meant it is also a gripping piece of theatre. Without doubt, “Innocence” is a painful work to watch for there is a lot of pain on view; lives are lost and survivors’ lives are destroyed, as they are pushed to their emotional limits. Yet in the epilogue the surviving students talk about their futures with optimism, and Markéta, the dead daughter of the waitress, encourages her mother to stop dwelling on the past, to stop buying her her favorite apples and birthday presents, and to move on. Over the coming seasons, “Innocence” is scheduled for performances at Covent Garden, Amsterdam, Helsinki, San Francisco and the New York Met. It is a production not to be missed.