Review: COPENHAGEN at Sterling Stage Austin

From November 1-24, The Stage Austin is presenting Michael Frayn’s Tony Award winning play COPENHAGEN, a dramatic exploration of a conversation between two of the 20th century’s most prominent physicists, Niels Bohr and Werner Heisenberg. Set in Copenhagen during World War II, just before the Nazi occupation of Denmark, the play unfolds as a complex web of shifting timelines, suppositions, and recollections of past encounters. The central question of the play is: Why did Heisenberg visit Copenhagen?

As Heisenberg discusses his 1941 trip to see Bohr, often with the presence of Bohr’s wife, Margrethe commenting, making observations, and/or interjecting her reasoned conclusions, the three characters wrestle with their roles in the development of atomic weapons. The play delves into Heisenberg’s frustration over the lingering confusion about his motivations as the conversation moves between past events, what might have been, and what is remembered.

This play relies heavily on intersections of physics, philosophy, and personal morality intertwined with themes of scientific ethics, moral quandaries, and the complexities of memory and truth. These serve as a backdrop for highly-detailed dialogue concerning atomic energy, fission, and the potential for creating weapons of mass destruction. 

Amid this intellectual exchange, the play also touches on the once-close, almost familial, relationship between the Bohr's and Heisenberg, as well as the personal tragedy of Heisenberg’s son’s death. This loss serves as a powerful metaphor for the play, highlighting how radical events can dramatically alter the course of human and global history.

Karen Sneed, director, expertly uses the playing space for movement between the characters to depict various locations and to highlight arguments. Her direction also allows each actor to access a wide range of emotions and expressions, both in bringing out rising tension between the characters, as well as moments of release. 

The three-person cast, featuring some of Austin’s finest talent, delivers an exceptional performance, with commendable mastery of extremely lengthy script, that powerfully conveys the complexity of this story. Scot Friedman portrays Heisenberg with remarkable depth, capturing the character's moral dilemmas, traumatic life journey, and his fraught connections to the Nazi regime, all under the guise of German pride. Friedman’s acting is  astounding, as he skillfully navigates a broad emotional spectrum—alternating between deference to Bohr, earnest attempts to gain information and win back Bohr’s trust, a relentless pursuit of his own motivations, and a humbling recognition of his past oversights and mistakes. His portrayal brings Heisenberg’s internal conflict to life with impressive nuance and emotional resonance.

Michael Stuart’s portrayal of Niels Bohr is equally impressive, capturing the intellectual stature of the character with both physicality and depth. Stuart’s height visually reinforces Bohr’s towering presence in the world of physics, while his performance matches the range of emotions and intellect required to bring the character to life. He skillfully conveys Bohr’s sharp scientific mind, his ongoing process of inquiry, and his unwavering commitment to rigorous scientific methods.

Beyond the scholar, Stuart also gives a compelling portrayal of Bohr’s humanity—his deep respect for his wife, his awareness of the real-world consequences of atomic weapons, and his sorrow over the tragic loss of his son. Stuart’s Bohr is nuanced and fully realized, embodying a figure who feels both larger-than-life and relatable, someone you could imagine meeting in the halls of any university.

Meredith O’Brien, as Bohr’s wife Margrethe, holds her own alongside Stuart and Friedman, delivering a performance of equal skill and authenticity. O’Brien’s portrayal of Margrethe is wise and poised, with a sharp wit that matches Bohr’s intellectual rigor. Her impeccable dramatic timing, especially in her quick retorts and insightful commentary, adds layers of depth to the dialogue. In the second act, her passionate delivery of reasoning—particularly in the moments where she challenges the others’ assumptions—is compelling and deeply moving, reinforcing her character's emotional and intellectual strength. 

Michael Stuart’s set design for COPENHAGEN features a circular platform arranged in-the-round, with three chairs that are moved by the actors throughout the performance. The platform is painted to evoke the image of a bomb or a tornado from above, with swirling, cloud-like patterns. Four gray circles are integrated into the design—one large center circle and three smaller ones arranged in a triangular shape—suggesting a visual representation of the process of fission. This subtle, symbolic staging reinforces the scientific themes of the play, particularly when fission is discussed by the characters.

Several other production elements also stand out. Justin LaVergne’s lighting design is exquisite, with washes of color that saturate the playing area, creating a dynamic visual atmosphere. The oscillating light effects reflect the shifting nature of fission and the chaotic motion of life itself. A particularly apropos yellow wash is used during the discussion of the Hiroshima bombing, intensifying the emotional weight of the moment. Carl Ziegler’s sound design is flawless, seamlessly integrating sound effects into the performance without disrupting the flow, and enhancing the atmosphere with piano-based classical pieces that accompany the production from pre- show to curtain call.

The costumes, though not credited, are beautifully designed. The suits worn by the men are well-tailored, with attention to detail in the accessories, especially their ties. Margrethe’s dress, however, stands out as a stunning visual contrast to the men’s attire. The vibrant burst of colors—purples, lavenders, turquoise, and green with yellow and pink highlights—creates a captivating look that underscores her presence and importance in the narrative. 

Michael Frayn's COPENHAGEN at The Stage Austin is a thought-provoking, intellectually rigorous, and visually compelling production, brought to life by a talented cast and a meticulous creative team. The program is well-designed, including insightful quotes and a timeline of the events referred to in the play. I highly recommend this production, both for the talent portrayed as well as its message of morality and science in times of global conflict.

COPENHAGEN

Written by Michael Frayn

Theater Company: The Stage Austin

Venue: Sterling Stage Austin, 6134 E Hwy 290, Austin, TX 78752

November 1-24, 2024, Thursdays-Saturdays, 7:30 p.m.; Sundays 2:30 p.m.; Industry Night Wednesday, November 13, 7:30 p.m.

Running Time: 2 hours, 45 minutes; one 15-minute intermission

Tickets: $20-25 https://tickets.atxtheatre.org/events/copenhagen 

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