Copenhagen

Boundary Players

William Penney Theatre  

COPENHAGEN by Michael Frayn couldn’t be more different from Noises Off, which he also wrote.

The play speculates on what might have happened during a meeting, in 1941, between a German physicist, Werner Heisenberg, and his former teacher and mentor, Niels Bohr, now living in Nazi-occupied Copenhagen.

The events also include Bohr’s wife, Margrethe, who acts as narrator, at times addressing the audience rather than taking part in the conversations.

We watch the re-enactments of events, suspended in time, as the characters reflect on their past.

Margrethe often asks the questions the audience want to ask. Was Heisenberg tipping off Bohr that Germany was developing atomic weapons?

Some of the action takes place as the two men take walks – around the auditorium – and discuss outside in case the walls have ears.

Director Michele Middleditch chose an austere and plain set (a living room), putting the main focus on the dialogue which, for quite a lengthy period at the beginning, took place at the back of the auditorium.

There was good characterisation with some scenes more effective than others.

The play has complicated and difficult dialogue, which was not always delivered confidently by Chris Nunn as Heisenberg but he was occasionally mesmerising as he struggled to understand his own motivation.

Jamie Kilpatrick did a good job of bringing Bohr powerfully to life and Sam Walker brought emotional depth to the role of Margrethe. She also acted as witty moderator of their debates.

According to the programme notes, “Frayn’s masterpiece is described as part history, part thriller and part psychological investigation”.

I left the theatre feeling that I had been asked many questions but not found nearly enough answers.

Copenhagen is a challenging play for an amateur group. Whether Boundary Players rose to this challenge will depend on your level of scientific understanding.

Chris Horton