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Copenhagen by michael frayn6/21/2023 The play lends itself to overt theatricality over realism (opted for by Howard Davies in his 2002 film) and it is showcased to full effect, from Alex Eales’s elegant, expressionistic set (spare, with a circular revolve and a giant halo overhead) to its three central characters who exist in a no man’s land of time and space, zipping back to the past from beyond their graves.Įarnestness and passion. Howlett’s dynamic direction creates the illusion of action beyond arguments, ideas and theories, and the pace of the conversation is fast and fluid. The play still feels maverick in conception, too, seemingly breaking fundamental rules of drama (all talk, no action) while keeping us gripped. For Heisenberg and Bohr, there is anxiety and guilt in new science being used for destructive political ends, and both men are implicated. There are contemporary resonances in its questions around the morality of science, but it is the play’s exploration of the awkward relationship between science and politics that chimes loudest as Covid has brought scientists on to the same public podium as politicians.
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