What was said or, equally important, not said takes on increased significance when you consider the possible stakes: the success of a German project led by Heisenberg. Cumpsty), his former pupil and a German, during which no one to this day knows exactly what happened. ''Copenhagen,'' a critical and (more surprisingly) popular hit when it opened in London at the Royal National Theater in 1998, is nominally about a subject with all the sex appeal of a frozen flounder: a meeting in 1941 between the venerable Danish physicist Niels Bohr (Mr. And who would ever have thought it: that three dead, long-winded people talking about atomic physics would be such electrifying companions? Give them the courtesy of your full attention, and you'll find them taking possession of your own imagination as well, probably raising your blood pressure in the process. As embodied with disquieting fierceness by Philip Bosco, Blair Brown and Michael Cumpsty in ''Copenhagen,'' the endlessly fascinating new play by Michael Frayn that opened last night, these spectral presences just won't stop haunting one another with their questions and revisions and caveats. The ghosts who have taken up residence at the Royale Theater are a restless lot, filled with a crackling, questing vitality rarely found even among the living.
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