Copenhagen by Michael Frayn

Tivoli Garden, Copenhagen, 3 June 2005, ducks talking to Danes

Copenhagen, the play by Michael Frayn, got a long Louise Kennedy review in today's Boston Globe. I've been waiting since we saw it this past Wednesday.

A.R.T. in Cambridge, Mass., which is staging the play until Feb 3, is a stunning space - you walk in on the stage floor, seating stadium style on sides, and "in front," the many tiers that face the set. In this case, being seated on the side seemed an advantage. The play requires thinking from many perspectives and having to watch from an oblique vantage is conceptually fitting.

"The set:" Three large oval light tracks arced at odd angles to one another circle the ceiling. "Electrons" whip around at various intervals, flick on at different times during the performance. Mirrors along the back wall are the stage design; the set comprises three chairs that the characters move around the stage. That's it.

Characters: Three - 1. Niels Bohr (Will LeBow), the Danish physicist who proposed "complementarity," the principle that says, in essence, you can't have black without white - in physics, his theory is connected with waves and particles - one can't exist without the other; 2. Margrethe Bohr (Karen MacDonald), wife of same, mother of six sons (one of whose deaths provides a refrain in the play), typist of manuscripts, and  the character who translates physics into English - and humanity - on the stage; and 3. Werner Heisenberg (John Kuntz), the German physicist whose name precedes "uncertainty principle," meaning that once you start studying something, your intervention so changes what you're studying that it's not the same thing as when you started.

Plot: In 1941, Heisenberg arrives in Copenhagen for a meeting with Bohr. "Why did you come to Copenhagen?" Margrethe repeats this line many times in the play. It's the central question that allows the characters to reflect on their lives (when the play opens they're all dead; everything is a flashback), explore physics, argue about collaborating with the Nazis, hint at the nuclear bomb projects underway in both Germany and the US, mourn, walk away, come back, and love one another - even as they all have different memories of how those discussions transpired.

The characters play their parts in relationship to one another and comment to the audience, the work of narration passing among them as they discuss ethics, science, families, politics, the Nazis, love, skiing, Norway, walking, babies, anti-semitism, Einstein, drowning, each with its complement, each uncertain.

Powerful, powerful. Complementarity has been a big topic in our house since hubby Jeff used it as one of two core principles (the other was level structure) underlying "human systems theory" in his dissertation. Thus, the play picked up a lot of threads we've talked about.

I kept wishing I had the script in my lap as the ideas are heady, worth thinking about at a slower pace. An editor friend whom we went with said she wished she could have had at the script - would have removed a third of the lines she said. I can understand this. The sheer complexity of the material might be easier to comprehend if the acts were shorter. In one sense, it's a really long lecture about the most abstract of ideas.

Last point, bloggers: Those involved are keeping a blog about the production. "Heisenberg" (who signs his posts "johnny kuntz") is posting about his part, what it's like to rehearse, and such, very interesting. And today, Nick Peterson (thanks for inviting us, Nick) posts an email they received from Heisenberg's son Jochen Heisenberg, professor of physics at the University of New Hampshire (Jeff's alma mater), who apparently attended the same performance we did:

Thank you indeed for the wonderful experience of seeing this different Copenhagen€ performance. As you know, we have been guests at a number of performances since the NY opening in 2000, and I have had the burdensome opportunity to become a participant in those symposia that dealt with the controversy arising out of this play.

What was so refreshing this time was the fact that the play was allowed to be a drama on many levels and that the one-dimensional, contentious aspects did not dominate the many-layered personal story.

Comments

[Paul Levy]

Favorite jokes from the MIT end of the Charles River: Dr. Heisenberg is pulled over for speeding. The cop says, "Do you know how fast your were going?" "No," says Dr. H, "but I know where I am."

Another: Why did the chicken cross the Möbius strip? Answer: To stay on the same side.

[jessica lipnack]

Perhaps I've mentioned this possible career move to you before: stand-up.

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[Nicholas Peterson]

Jessica,

Thank you so much for your thoughtful post about Copenhagen. I hope you'll attend more performances at the A.R.T.!

Thanks!

Nick