Copenhagen
Indiana Repertory Theatre
November 2002
James Edmondson
“Intelligence detonates Indiana Repertory Theatre’s production of Michael Frayn’s ‘Copenhagen.’ And like the text, the smart, passionate cast and creative team explode with the force of a nuclear bomb.
“This 2000 Tony Award-winner speculates on the visit German physicist Werner Heisenberg paid to his former mentor, the Danish physicist Niels Bohr, in occupied Copenhagen in 1941. No one knows what they talked about, but the Nobel Prize laureates wound up on opposite sides of the race to develop plutonium. Frayn turns the mystery into an inquiry about accountability, reality, and friendship.
“As far back as his 1982 farce ‘Noises Off,’ Frayn has been interested in chaos. In ‘Copenhagen,’ he raises the stakes to the endgame; destruction of life—and truth. Heisenberg, Bohr, and Bohr’s wife, typist and sounding board Margrethe, return from the grave to relate that fateful encounter to each other and the audience. Each remembers it differently.
“Frayn offers no answers. This tactic stimulates rather than frustrates because he ties it to the philosophical ramifications of Heisenberg’s ‘uncertainty principle.’ The theory proved the impossibility of measuring position and velocity at the same time with complete accuracy; the very calculation changes the status of one or the other. It nullified causality and, by extension, objectivity. Meaning became a guess. The uncertainty principle put humankind at the center of the universe. But humans, like all particles in the cosmos, behave differently when observed.
“Frayn offers multiple entry points to the metaphysical quandary: How can people be understood when they can’t comprehend themselves?
“You don’t have to know a whit about physics to get caught up in the clever suspense. The closer you pay attention, the more you’re rewarded. Frayn makes you feel bright.
“The sharp cast, with Glen Pannell as Heisenberg, James Edmondson as Bohr, and Giulia Pagano as Margrethe, mouths these insights with eloquence and verve. The ensemble flows in and out of interrogation and confession, monologue and dialogue. It segues from fond recollection to urgent argument to awkward silence. And the trio shudders at the Nazi atrocities.
“Paul Barnes’ artful direction inspires the performers to join and split like electrons, like colleagues, like families. The fusion of feeling onto fission supplies Copenhagen with radioactive theatrics.”
Peter Szatmary
The Indianapolis Star
“The British dramatist Michael Frayn is probably best known for his theatrical comedy Noises Off, which the Indiana Repertory Theatre mounted in 1999, and which has won several awards in both London and New York. Now Frayn’s back at the IRT with Copenhagen, which was named the Best Play for both the Evening Standard awards in London in 1998 and the Tony Awards in New York in 2000.
“I must confess that I didn’t follow the play very well in London in 1998 or in Indianapolis on opening night, last Friday. I’m not sure it’s a good play, in the conventional sense of the word. But it is a riveting experience nevertheless.
“Michael Ganio designed both costumes and sets with a spare and simple eye. Three chairs on a circular platform under a suspended square ceiling constituted the set. The actors were almost plain, in a sense. Such people as these are not interesting dressers: they wear the suits of the time, in simple styles and colors. These are not people who would stand out in a crowd. But they have the power to captivate the audience’s attention, especially in the second act when they pace around the stage as if they were caged.”
Bill Liston
Indiana Public Radio