Review: Heisenberg (Arcola Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

We may be less than a third of the way into the year but the Arcola Theatre in Dalston are already having a strong year with their recent ambitious and acclaimed production of Cry-Baby concluding its run last weekend. With the venue boasting two spaces, their smaller space downstairs is now playing host to a reimagining of Heisenberg but would this be able to continue the high standard they are demonstrating this year?

Premiering off-Broadway in 2015 and enjoying a West End run in 2017, Heisenberg sees a chance encounter in St Pancras train station between two women. Georgie, a young free-spirit in her 40s, and Alex, a far more reserved 75-year-old butcher. After a further encounter, the relationship between the two blossoms as their opposites pave the way for each to make changes in the others life, but in a play that twists what exactly the truth is, could it be that there is something more going on?

Simon Stephens’ writing cleverly allows the situation to unfold gradually in a play that simultaneously manages to be a slow-burn while never losing pacing in a rapid 90 minute singular act. The captivating nature of the writing is heightened in how fleshed out the characters of Georgie and Alex are, with plenty of intrigue in reference to both their pasts and their current motives. Playing off the differences of each, with the extroverted and often erratic Georgie against the more quiet and introverted Alex allows for a fascinating dynamic in a relationship that shouldn’t work on paper but proves that opposites attract.

What is interesting about this production is the choice to flip the gender so Alex is now a woman. With the intent of stripping away heteronormative power dynamics of an age=gap relationship, the choice to make this a queer story between two women adds another level to it. While retaining Stephens writing and not deviating from the story, this production of Heisenberg explores fresh ground, and allows for more complex questions about the relationship between the two women and any manipulation that may be taking place.

Katherine Farmer’s direction finds new ground to tread in the story, playing into the varying natures of the conflicting characters and ramping up their personality traits. The subtlety and nuance in Alex’s reactions to the overblown and exaggerated nature of Georgie makes for a dynamic that thrills throughout. Though the space in the studio at the Arcola proves to be relatively cosy, the intimacy adds to the effectiveness of the piece, with nothing more than two chairs and a bit of lighting to distract from the performers themselves.

Olivier Award-winner Jenny Galloway takes on the role of Alex, expertly holding her own against a character who is determined to disrupt her life. Brilliantly demonstrating the walls the character has built around her, Galloway excels at her ability to gradually let these down in a characterisation where warmth shines through ultimately. It is what is left unsaid in Galloway’s portrayal that elevates the performance further, with the hints of the sorrow Alex has faced in her life clear to see in her face with sporadic emotive moments used to highlight this further.

Faline England is the polar opposite in her characterisation of Georgie. Larger than life and fairly unpredictable, she bursts into the story with life and never lets up for a moment. The changeable nature of the character means she can go from one mood to another in mere seconds while other moments see her deviate from truth to lie and back again, never quite knowing what to believe. All of that makes quite a demanding performance for England to accomplish, but she does so with ease. Almost exhausting in how overblown the performance is, one thing is for certain, it is never boring. England delivers a performance so intense, you dare not take your eyes off her. The sparring between both her and Galloway is at the heart of what makes Heisenberg so compelling.

As two-handers go, Heinsenberg is up there with the best and this production brings a brave new take on it. Rather than detract from the writing with this new twist, it actually adds to it, bringing something new and even more intriguing about the story. The writing and direction work beautifully together, but it is in how remarkable the performances are that make this such a resounding success. Though the motives of one of the characters may be questionable, ultimately the play is about connection and, in that respect, Heisenberg does a fantastic job in connecting with the audience.

Heisenberg plays at the Arcola Theatre until 10th May. Tickets from www.arcolatheatre.com

Photos by Charlie Flint