I suspect that "intellectual" plays continue to be written,
but are dumbed down or souped up during the path to production.
One of the maxims of contempory dramaturgy is "audiences don't
go to the theatre to think". Frayne's "Copenhagen", which is
the most exciting piece of theatre I've seen in a decade, is
about intellection-- it is nothing but thought. And yes, even
though the play's blurbs make it clear that the audience will
be in for a mental workout, a certain proportion of them don't
enjoy it enough to come back for the second half. But enough
stay and enjoy it and praise it to their friends to keep it
running-- and if "Copenhagen" is successfully produced in the
US, maybe that success will break the unwritten law against
intellectual scripts.
Anybody in London--see "Copenhagen". Not only is it enthralling,
the mystery of its construction is astonishing. How does Frayn
keep you intent on every word when he's made it clear that nothing
will-- or can-- happen? Examining motives that by definition
are opaque?
Also-- seats on the stage are only 10 pounds.
by 
