Review of ‘Heisenberg’: “We can’t love what we can’t feel”

Simon Stephen’s play relives at the Arcola Theatre in this new production starring Jenny Galloway and Faline England. Guillermo Nazara shares his views on the show, to let us know if this queer revival of the love story is a concept to be married to.

Train stations are romantic. Or so they say. To many, they carry a sense of nostalgia – their first kiss, their first trip out of town, the first time they got mugged. All worthy of a special place in somebody’s heart. It was at a train station that J.K. Rowling’s parents met – hence why King’s Cross is featured in the Harry Potter books. And when it comes to spreading love, nobody does it better than Jo. I mean, she wrote a whole fantasy series despite her outspoken aversion to wands – and what a trance she put us through!

Excuse the opening but I genuinely needed some laughter. Or to feel something, for that matter. Because despite its premise and its intended fire, Heisenberg turns out to be a rather soulless, unemotional journey that doesn’t take us anywhere – apart from, perhaps, a long ride of boredom and predictability.

It may come off as too harsh, but there’s no point in sugarcoating something with such weak ingredients to begin with. Simon Stephen’s play, making a comeback to the London scene with a lesbian twist, parts from an engaging premise – one that could easily resonate with anybody. We all long for companionship and understanding. And we’re haunted by the shadows of solitude more often than we’d recognize.

There is nothing wrong with the story as an idea. The problems arise, and quite swiftly they do, when the full narrative unfolds. Not only does it struggle to entertain, but it literally brings nothing that we haven’t seen before – and probably, in a much better form than this one. Two women bump into each other at St. Pancras. One is a lone wolf; the other one, an attention seeker. That meet-cute encounter follows a first date, as they discover the one single thing their clashing personalities share in common: how much they like each other.

It’s just as charming as it is bland. None of its elements compel. Though not exactly a romantic comedy, it’s true that other successful works in this genre do not excel in innovativeness – and it’s usually their amusing dialogue, added to a few memorable situations, that makes up for the plot’s lack of substance. This is not the case, though. The scenes have no sparkle, and hardly ever do the conversations sound enticing or even authentic – pushing too hard for punchlines that very rarely have an effect.

The production still incites some interest through its set-free approach. Two chairs, relocated for every new segment, compose the entire staging. The result is quite satisfactory – able to paint a whole picture through subtle suggestion. The lighting, with a usually atmospheric tone, helps secure the illusion.

Yet, the blocking doesn’t always land as successfully. Some bits are absent from originality -especially, when the actors walk in circles, purportedly strolling around the city. They are meant to be visually introspective moments. Instead, they feel flat and unappealing – compromising part of the design’s achievements, and wistfully, reinforcing the piece’s sentimental asepsis.

Sadly, the cast doesn’t smooth the experience either. Starring British theatre veteran Jenny Galloway and American actress Faline England (no joke intended), their complete absence of chemistry is, unfortunately, the most notable trait in their performances. The deep bond they’re supposed to have, and which justifies that strong liking for each other despite how much they collide, is simply not there. Both renditions don’t display enough truthfulness – and in the end, the characters’ impact is almost non-existent.

I don’t believe in love anymore. Too many ones have hurt me already. And I’m talking about shows… Heisenberg shall not be included in that list. However, major revisions are crucial for this play to start functioning on a basic level – let alone, stand out. When it comes to romance, there’s always an audience willing to be taken by those sci-fi hallucinations. But you can’t discuss the matters of the heart without delivering one of your own.

All pictures credit to Charlie Flint.

Heisenberg plays at London’s Arcola Theatre until 10 May. Tickets are available on the following link.

By Guillermo Nazara