“As a writer of brilliant comedies, where satire tosses and turns under sheets of exquisitely embroidered farce, Michael Frayn’s biggest hit came with the hysterical “play within a play” fiasco Noises Off. Film work such as the John Cleese comedy Clockwise and the touching TV play First and Last have showed off Frayn as a fine observer of people. But in Copenhagen he turns to history, and a moral conundrum so trenchant that at points it overtakes the carefully reconstructed plot in the viewer’s mind. For every visual image there is an imaginary imp hovering behind it asking us to see a wider picture.Read More »