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by Michael Frayn
Jack Mayo
Bill Taylor
Mollie Wise

Fridays and Saturdays at 8pm, Sunday matinees at 2pm
at the Alden Theatre Mar 4, 2005 - Mar 19, 2005
Producer: Terry Yates
Assistant Producer: Kerry Liedquist
Director: David Fallen
Technical Director: Bill Glikbarg
Presented by special arrangement with Samuel French   --   (GFP)

Michael Frayn's Tony award-winning drama about the 1941 meeting between German physicist Werner Heisenberg and his old Danish friend Niels Bohr.

David Fallen is directing. David was the Executive Director of Elden Street Players for about 10 years. Among the plays he directed were Freedom of the City, The Night of the Iguana, Hamlet, Death of a Salesman, Medea, Royal Gambit, Sign in Sidney Brustein's Window, Slow Dance on the Killing Ground, and Redwood Curtain.

From The Complete Review: "Copenhagen is among the unlikelier dramas of recent times to have become a great success. It focusses on an historical incident: the 1941 meeting between German physicist Werner Heisenberg and Danish physicist Niels Bohr. What was discussed at the meeting has long been the subject of debate among scientists and historians; recently released letters (see them at the Niels Bohr Archive) shed more light on matters, without completely clearing up the question.

"At issue, in essence, was the atomic bomb. But it was 1941, and it was unclear how or even whether an atomic bomb could be built. Heisenberg appears to have sounded out Bohr, to determine ... ah, well, that's part of the mystery. Add to that conditions under which the meeting arose. Heisenberg was one of the few German scientists who did not flee as the Nazis consolidated their power. He was an important scientist in what was the most powerful country in Europe at the time. The United States had not yet entered the war and a German victory still seemed more than plausible. Tiny Denmark, meanwhile, was an occupied state.

"Copenhagen has only three characters -- the two scientists and Bohr's wife. They are also all dead, reconvening in some sort of afterlife and going over old times. Though it is not written in any stage instructions, the stage is clearly meant to be essentially bare. It doesn't sound in the least promising, and yet as Frayn presents it it is truly gripping theatre.

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