Heisenberg – Arcola Theatre, London

Writer: Simon Stephens

Director: Katharine Farmer

A bare stage, awash in cool blue light and furnished with only two chairs, sets the scene for Heisenberg. The play opens with an unexpected encounter: a woman kisses the back of a stranger’s neck, mistaking them for someone else. This chance encounter sets off an unusual and unpredictable conversation between Georgie, an impulsive and disarmingly frank American and Alex, a reserved, quietly curious woman. Simon Stephens’ play deliberately avoids conventional plotting, favouring a dialogue-driven exploration as we witness two people navigating connection and desire.

Rajiv Pattani’s lighting and Hugh Sheehan’s sound design become the primary tools for shaping the world around the pair. They move between naturalism such as morning birdsong and sunlight through a window and a more stylised approach, with shifting colours suggesting inner emotional states. One element which proves a little perplexing is a pink neon tube affixed to the wall during the opening scene. Possibly intended as a stylised nod to the London skyline, it sits oddly in the aesthetic, distracting from the first moment rather than enhancing it.

Stephens’ script makes abrupt turns, sometimes launching into emotional depths without much preamble. Yet this is largely offset by the nuance of the performances, which bring warmth to the relationship and a delicacy to the characters. The early scenes favour humour, drawn from the awkward encounter, but the piece gradually deepens into a tender, philosophical meditation on life. There is something refreshing about knowing how everything can change in an instant according to the characters’ desires. Even for those fond of dialogue-heavy plays, the latter section feels drawn out, the momentum flagging just before the end.

Katharine Farmer’s direction maintains a sparsely focused style. The blocking is understated, centring the actors and allowing key emotional beats to resonate. Moments where the performers look out towards the audience, such as when one admires the other’s eyes, pull the audience gently into the evolving dynamic.

This production reframes Stephens’ text by placing a lesbian relationship at its heart; a human interaction and offering a fresh lens through which to view the play’s themes. What emerges is a gentle, searching piece about the unpredictable collisions that shape our lives and the fragile, essential human desire to connect.

Runs until 10 May 2025