![]() ![]() But nothing of that emotional level occurs in this performance. There are times here when the characters should be laughing with eachother, and times when they should be almost at eachother's throats. If you read the play with a careful understanding of the history behind the events it is disecting, you will see that Frayn has strategically inserted moments of levity and moments of shock to punctuate what would otherwise be historical narration, which gives the play it's emotional core. But here, his performance (along with the other actors) is uniformly at 50%. We know Cumberbatch can play the tortured genius extreemly well, but his enjoyability as an actor comes from his ability to give cerebral characters emotional depth. Unfortunatelly, none of the actors seem to be doing this hear. That is what makes each adaptation interesting, as each actor will play their historical character with slightly different emphasis on different passages. There are none of the conventional markers that can signal to an actor when the critical passages and emotional beats are. not just because of its dense subject, but because it doesn't follow a narrative structure. ![]() Copenhagen is an extreemly difficult play to do. ![]()
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