Cody Luk
Online Editor
The question as to why the renowned theoretical physicist Werner Heisenberg traveled from Berlin, Germany, to Copenhagen, Denmark, to meet his former mentor, physicist Niels Bohr, in 1941 has been an ongoing discussion among scholars for decades, and it is also the subject matter of the University of La Verne production of Michael Frayn’s Tony Award winning play “Copenhagen” at Dailey Theatre.
“Why did he (Heisenberg) come to Copenhagen?” the play’s first line, continues to be discussed by the spirits of the deceased characters Heisenberg, Niels Bohr and Margrethe Bohr, played by senior theater majors Alex Freitas, Jordan Klomp and Mona Lutfi, respectively. The physicists’ meeting is based on a historical event.
“I really enjoyed the play, and I love history, so it was interesting to see the historical part in the play,” said David Asbra, senior political science major.
“I found that period really interesting because of the struggles of the political powers at the time.”
The 1941 meeting in Copenhagen ended unexpectedly with an argument, and the reason behind the dispute remains a mystery.
In “Copenhagen,” Heisenberg claims he was discussing ethical issues on nuclear weapons with Bohr, while Bohr insists Heisenberg did not have any moral dilemmas. The debate goes on for the length of the play.
During World War II, Heisenberg researched atomic technology and nuclear weapons for Germany, while Bohr’s research led to the United States constructing the atomic bomb.
In the play, Heisenberg continuously insists how surprising it was for Bohr to involve himself with building the bomb.
“No one has expected him (Niels Bohr) to do anything wrong,” Heisenberg said. “He was a profoundly good man.”
Aside from the disagreement, the two physicists have a relationship comparable to a father and son, as revealed through their dialogues reminiscing on their lives outside of work.
The play is unique in that there are neither scene descriptions nor stage directions in the screenplay. The text only contains the spoken lines. Thus, the stage designers must create the set from scratch without any directions.
Characters’ entrances and exits are also not indicated in the script. Even when the characters are placed next to one another, they would be speaking to themselves or to the audience rather than one another. At one point, they stand up and face different directions while they each talk about their personal stories and feelings.
The characters also finish each other’s sentences as if they know what they are about to say next.
During several parts of “Copenhagen,” the play would replay the same scene like a flashback, but the dialogue and actions would stop midway, as if the play has paused, while one character confesses his or her thoughts and emotions at the moment in time. The play would then resume.
The reminiscences allow the audience to understand the situations from different perspectives.
Ironically, the characters also discuss explicitly about how there are many “things that can’t be said” – thoughts that should only remain inside the minds.
Although the ethical dilemmas span across multiple historical, political and scientific references, no answer is revealed at the end of the play to the question as to why Heisenberg traveled to Copenhagen.
However, the motive of “Copenhagen” is the interrogatory process rather than the resolution.
“I like how they combined history and science and the psychology of the people,” said Jason Souriolle, sophomore kinesiology major. “I loved the passion.”
The play uses sound effects and a background screen with objects and words appearing to complement the action.
Since “Copenhagen” contains an abundant amount of scientific terminology, it may be difficult for the person to understand.
“It was very hard to understand at some point,” said Vincent Hebble, sophomore computer science major. “But it was interesting to see them talk from different perspectives and to go over the thoughts of them. I like the emotions the actors had.”
Therefore, the role of Margrethe is important, because the physicists try to explain scientific language for her, making it easier for the audience to understand.
The University’s adaption of the historical fictional play was directed by Associate Professor of Theater Arts Sean Dillon. It was also the senior projects of Freitas, Klomp and Lutfi.
“Copenhagen” had shows on Nov. 12-14 and 19, and it will continue its run at 7:30 p.m. Friday and Saturday and 2 p.m. Sunday.
There is a suggested donation of $10 for students, $12 for staff and seniors and $15 for general admission. For reservations, call 909-448-4386.
Cody Luk can be reached at cody.luk@laverne.edu.
