COPENHAGEN -- (At Olney Theatre Center through Sunday)
Good writing has a way of relaxing the spirit, and Michael Frayn, author of this elegantly accessible, Tony-winning play, is in this regard a stress-relief wizard. The play revolves around a 1941 reunion at the Copenhagen home of the revered Danish physicist Niels Bohr (Alan Wade) and his wife, Margrethe (Valerie Leonard), with Bohr's old student, Werner Heisenberg (Chris Lane), who earned renown as the author of the uncertainty principle of quantum theory. The meeting is reconstructed from the memories of the three participants, now speaking to each other from beyond the grave. Jim Petosa has staged the play with a keen understanding of both its humanity and its moral force, and the trio of actors lean on each other as securely as if they were sides of an equilateral triangle. Frayn's discussions of physics and classical mechanics are beautiful and utterly convincing; part of the delight of the play is in that Stoppardesque sensation of delving into realms that seem patently untheatrical, and discovering that they belong on the stage after all.
-- Peter Marks
THE PRODUCERS -- (At the Kennedy Center Opera House through Aug. 22)
"The Producers," billed as "the new Mel Brooks musical," isn't so new anymore; it opened on Broadway to an explosion of huzzahs in the spring of 2001. Yet even if you're forced to wait around for the life of the party, isn't everything forgiven the minute he floats through the door? What, after all, is a year or three? "The Producers" is here at last in Washington, with its brass, cheek and boobs-in-brownshirts jokes riotously intact. Brooks's achievement -- and let's be real, though the credits list writers and directors and stuff, this musical screams "Brooks!" the way that ketchup bottle shouts "Heinz!" -- shows little of the corrosive wear and tear of life on the road. If you caught Nathan Lane and Matthew Broderick in their celebrated run in New York, more power to you. But if your introduction to this sublime act of insanity is Lewis J. Stadlen and Alan Ruck as, respectively, libidinous Max Bialystock and dysfunctional Leo Bloom, know that you've been delivered into capable hands. "The Producers" satisfies in gratifying waves a craving for meaninglessness. And it's as close to a Broadway experience as you're likely to encounter this far south of Times Square. This is not a show you'd call subtle. The unexpurgated feel of "The Producers" is such a tonic for a society in which taking offense has become a national pastime. Brooks goosesteps where others fear to tiptoe. The show is based on his subversive 1968 movie of the same title about, well, you know, a leering, larcenous Broadway producer who dreams up a scheme to defraud investors and cash in by mounting the most tasteless musical of all time, "Springtime for Hitler." I guess it must be pointed out that Brooks and the libretto's co-author, Thomas Meehan, scandalously stereotype and/or ridicule every category on the census form, and then some: gay men, Irish cops, Jews, lesbians, Scandinavians, accountants, Russian dictators, Nazi sympathizers, lonely old ladies, prison inmates and FDR. If your sensibilities are bruised by intimations of octogenarian sex, or outrageous punning, or the Village People, your time might be better spent tatting a new doily for the harmonium. For everyone of lighter heart and brighter countenance, though, being subjected to Brooks's irrepressible essence is as close as musical comedy gets to spiritual fulfillment.
SHEAR MADNESS -- (At the Kennedy Center Theater Lab indefinitely)
This interactive murder mystery, set in a Georgetown beauty parlor, is not so much a whodunit as a how-they-dunit. How has a mechanical comedy featuring a gallery of obvious stereotypes and a bottomless barrel of bad jokes found success here for so many years? I was stunned, not by the sheer badness of it, but by the blandness. Why would one of the world's premier showcases for theater tie up one of its stages for so long with any play, let alone one so inconsequential?