Eugene weekly., April 21, 2005, Page 37, Image 37

BY SHARLEEN NELSON
Copenhagen
Retelling History
Lord Leebrick’s Copenhagen
offers complex themes .
C
ombining physics, philosophy,
morality and human relationships,
Lord Leebrick’s production of
Michael Frayn’s Copenhagen attempts to de-
construct the events of a single meeting that
occurred between two renowned physicists in
1941. Six decades later, mystery and contra-
diction still surround the brief exchange be-
tween German physicist Werner Heisenberg
and Danish physicist Niels Bohr.
At the time of Heisenberg’s visit to Bohr in
Copenhagen, the city was under German oc-
cupation and Heisenberg himself was working
for the Nazis. Despite their history of friend-
ship and camaraderie, Bohr wonders whether
Heisenberg is coming as friend or foe.
In the play, Bohr, his wife Margarethe,
and Heisenberg reunite in the afterlife to re-
draft several possible versions of the meeting.
Was Heisenberg building the bomb for
Hitler? Was he withholding crucial calcula-
tions to undermine the program? Or did he
simply not know the correct calculation? Did
Bohr have knowledge of the status of the
Allies’ nuclear efforts? Was either of them re-
sponsible for changing the entire course of
history?
Set on an oval platform representative of
an atom, most of the action occurs within the
nucleus or center. Heisenberg, when not in-
teracting in the center with Niels and
Margarethe, orbits around the stage much
like an electron.
The set designers convey another mes-
sage through an interesting use of props. Two
chairs, the only props used in this production,
illustrate the emotional coming together and
moving apart of the two physicists as they try
to understand each other. When the charac-
ters are at odds, the chairs are moved and the
actors sit apart at the opposite edges of the
small stage. When the chairs are stationed at
the center, the actors are in consensus.
Departing from its typical horseshoe seat-
ing, Lord Leebrick has arranged the seating in
a circle around the stage for the production.
The arrangement implies Heisenberg’s
Uncertainty Principle of quantum mechanics:
Reality is what can be measured and the ob-
server is an integral part of that reality.
Copenhagen is a challenging play. The ac-
tors tackle an enormous amount of complex
dialogue laden with historical facts, names,
dates and events, not to mention quantum
physics. The three-person cast handles the
complexity and emotional challenges of the
script exceptionally well. William Campbell
as Niels Bohr realistically portrays the older
mentor torn between fatherly affection and
betrayed friendship. Robert Hirsh’s Werner
Heisenberg masterfully alternates between
repentance and arrogance. Diane Johnson, as
Margarethe Bohr, is equally solid as the
central observer and brutally honest
archivist.
The play, a deep thought experiment with
strong themes set against the ethical dilem-
mas that defined the 20th century, is also ex-
tremely challenging for the audience. It
doesn’t deliver tidy answers, but it does pro-
vide more than enough questions to keep you
pondering the meaning of reality, ethics, and
friendship long after the play is over.
Copenhagen runs April 21-24 and 28-30 at
Lord Leebrick Theatre.
ew
The play, a deep thought experiment with strong themes
set against the ethical dilemmas that defined the 20th century,
is also extremely challenging for the audience.
From Rags to Riches
Cottage Theatre puts on the classic tale of Oliver!
I
nspired by Charles Dickens’ turn of the century novel Oliver Twist, Lionel Harts’ mu-
sical adaptation opens on a drab London workhouse run by Widow Corney and Mr.
Bumble, the parish beadle. A group of ragged, underfed orphans file to the tablesing-
ing “Food, Glorious Food“ as they wait in line for their daily ration of gruel.
One young orphan, Oliver, has the audacity to ask for more. That raises the ire of
Bumble and he sells the boy to an undertaker. Alone and afraid among the coffins, Oliver
dreams of a better life. Oliver! is the story of his adventures along that journey.
Although she is playing a boy, Kaitlyn Sage is convincing as Oliver. Sage’s strong, clear
vocals resonate, particularly in her touching rendition of “Where is Love?” Likewise, Holly
Laycock, whose authentic cockney accent is first-rate, plays a credible Artful Dodger, a
young pick-pocket who befriends Oliver. Mike Tripp is appropriately scruffy, making the
role of conniving gang leader Fagin his own. Tripp’s comical gestures and dance numbers
are especially notable.
Harold Turnquist turns in an amusing performance as the pompous, self-important Mr.
Bumble. His excellent vocals and formidable presence on stage are delightful. Larry Maltz
stands out as the mortician, Mr. Sowerberry. Other solid performances include Caroline
Cramer as Nancy, and Davis Smith, who makes a menacing Bill Sykes (a gang member)
with his snarling voice and dark, sinister appearance.
Although Cottage Theatre has done a fair job with Oliver!, the production is not on par
with previous musicals put on by the theater. In a musical, in which songs rather than dia-
logue drive the story, it’s important to hear the lyrics. While musically exceptional, the live
orchestra often drowned out the voices onstage. Additionally, while the use of players en-
tering and exiting worked well in some scenes, it seemed to be an overused device in oth-
ers.
Still, the play is entertaining and the high-energy enthusiasm of the ensemble of adults
and adorable kids is infectious.
Oliver! performances: 8 pm Friday and Saturday, 2:30 pm Sunday. — Sharleen Nelson
15 TH A NNUAL
Multi-cultural Storytelling Festival
featuring nationally known storytellers . . .
ANTONIO ROCHA (Brazilian Tales)
VERED HANKIN (Jewish Tales)
BATT BURNS (Irish Tales)
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erf nce!! ) !
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A W Expe ges 10 an
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Fa comme
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Tickets: $8.00 per person OR
$20.00 for a family of four
(cash or check only).
Available at The Actors Cabaret
(39 West 10th — 683-4368)
& at the door.
**Also: CDs, tapes, shirts and books for sale**
Robert Rubinstein • Producer/Director
SaTuRdAy Evening, ApRiL
ThE
V ERy L iTtLe
30 th @ 7 :3 0 pm
T hEaTrE
2350 Hilyard St. • 344-7751/344-8176
Sponsored by: City of Eugene, Oregon Education Association, SELCO, Oregon Community Credit Union,
Springfield Education Association, Eugene Education Association, Lane Arts Council and Very Little Theatre
APRIL 21, 2005 33