★★★

“Though it could really sing with some further consideration, Ben Blais has certainly shown us something very real”

Theatrical musings about death and grief abound, but one thing has become incredibly clear — audiences will always buy into them. Grief, after all, is a universal experience that we long to share, while rarely feeling that we can. And so, theatre provides some small form of catharsis, allowing us to process our own emotions on the subject via proxy. Ben Blais, who serves as both writer and director here, seeks to provide that catharsis through an ambitious blend of sincerity, comedy, and straight-up chaos — but it’s clear that the work still needs a bit of polish.

When we meet Charlie (Griffyn Bellah) and his dying mother (Hannah Harquart), it is via a strange, often difficult to follow call-and-response duologue that goes on just a bit too long. We are soon introduced to Death (Joseph Bellis), posing as a newly moved-in neighbour, who wishes to spend some time with Charlie’s mom… presumably to take her away and end her suffering. What follows is a series of vignettes where Charlie finds any possible way to avoid what is happening right before his eyes. He can’t bring himself to face the horrific things that are happening to his mother’s decaying body — he describes the sights and the smells in quite visceral detail — but he can’t quite let go either. He entreats Death for more time, chases Death off time and again, but also berates Death for allowing her to suffer so much. The internal conflict is gorgeously played out by Bellah and reflects the very real complexity of grief.

But there are spaces here for improvement. A short section of Shakespearean monologue feels a touch like it’s filling space, more than serving a narrative purpose. The lighting design, provided by Jess Brigham, is ethereal and matches the tonal needs of the piece, but the sound hampers the performance at times, causing some lines to be lost in the chaos. A threat of suicide toward the end of the show feels particularly unbalanced, unrooted, and perhaps unearned — though it is threatened with a finger gun, it still feels rather jarring, particularly when followed by another character telling the one with a finger gun pointed at their temple to “try harder”. For a show that deals quite sensitively with other matters of death, it doesn’t seem to have interrogated its relationship with suicide or self-harm very well.

With all that said, the storytelling structure, the book-ends that Blais provides are what really show his promise as a writer. Death has a constant refrain for Charlie throughout the piece — “show me something real”. Though it could really sing with some further consideration, Ben Blais has certainly shown us something very real.

HEISENBERG

Arcola Theatre

★★★

“this show reminds us how true connection can come in many forms”

Longing, vulnerability, alienation, second chances. As time passes, we are forced to take a look at our lives and reflect on the people we’ve lost, our career, who we are. Simon Stephens’ play Heisenberg, through a touching story of finding connection when you least expect it, captures the whole spectrum of human interaction, giving us poignant language along with witty banter.

Alex (Jenny Galloway), a 75-year old woman, receives an unexpected kiss on the neck from Georgie (Faline England), a bubbly American who can’t stop swearing. They start talking, or to be more accurate Georgie starts talking, firstly about herself and then trying to figure out Alex’s character by bombarding her with questions and assumptions, while Alex wants to find a way out of this conversation. A few days later, Georgie shows up at Alex’s shop and before long, a peculiar connection has formed which brings chaotic Georgie and quiet Alex closer and closer. Till Georgie asks for a favour that makes Alex question whether it’s all been fabricated or genuine.

Heisenberg is a production that creeps up on you. Awkwardness and wariness give way to authentic moments of vulnerable melancholy, side by side with hilarious one-liners. Light and dark come together in a blend that is familiar if you know Stephens’ work and writing style. The way director Katharine Farmer has handled the text, interchanging between letting the text lead the way, like a beautiful literary interval, and letting the characters shine through, is very interesting. Of course we need to appreciate the words, savour them, pay attention to them, but in a piece of theatre, the live spontaneity and action of the characters should be the focus, even in moments of wordy pondering or reminiscing. That would also help with the pacing, which feels like it’s dragging at times, the sharpness of the smart comebacks and comedic lines often suffering because of that.

The contrast between the two characters is distinct, created by two skilful and obviously experienced actors. Changing Alex’s sex from man to woman is a choice that alters the dynamic between Alex and Georgie and the impact the play has on the audience. The relationship between our two characters feels more tender, more equal, more focused on companionship. On the other hand, there is a general lack of spark and intrigue. It’s like sailing steadily in very calm waters, without any sort of fluctuation of the waves or the weather to make things more interesting and add a level of risk. Overall, it’s a choice that provides a new perspective onto the relationship, but not in a particularly successful way in the long run of the play.

Lighting designer Rajiv Pattani did not hold back and really stressed the journey’s turning points and mood changes smoothly and skilfully. Moreover, lighting assisted with the lack of any actual set, filling a stage that was left plainly bare (except for two chairs). Sound design (Hugh Sheehan) also came to the rescue, giving us clear locations by providing background noise when necessary. It’s quite an intimate stage, but still it’d be interesting to see the kind of set experimentation that could emerge to surround the actors.

Alex shares how the older she gets, the more she realises how brief life really is. And this show reminds us how true connection can come in many forms, even between people who seem like they have nothing in common. Heisenberg deals with themes that are universal and makes the passing of time, the briefness and vastness of life, feel a little less lonely.

DEAD MOM PLAY

Union Theatre

★★★

“Though it could really sing with some further consideration, Ben Blais has certainly shown us something very real”

DEAD MOM PLAY

Union Theatre

Reviewed on 15th April 2025

by Stacey Cullen

Photography by Andrew AB

Previously reviewed at this venue:

DEAD MOM PLAY

DEAD MOM PLAY

DEAD MOM PLAY

HEISENBERG

Arcola Theatre

★★★

“this show reminds us how true connection can come in many forms”

HEISENBERG

Arcola Theatre

Reviewed on 14th April 2025

by Stephanie Christodoulidou

Photography by Charlie Flint

Previously reviewed at this venue:

HEISENBERG

HEISENBERG

HEISENBERG