Tag Archives: Anna Alvarez

HEISENBERG

★★★

Arcola Theatre

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.



HEISENBERG

Arcola Theatre

Reviewed on 14th April 2025

by Stephanie Christodoulidou

Photography by Charlie Flint

 

 

 


 

 

Previously reviewed at this venue:

CRY-BABY, THE MUSICAL | ★★★★★ | March 2025
THE DOUBLE ACT | ★★★★★ | January 2025
TARANTULA | ★★★★ | January 2025
HOLD ON TO YOUR BUTTS | ★★★★ | December 2024
DISTANT MEMORIES OF THE NEAR FUTURE | ★★★ | November 2024
THE BAND BACK TOGETHER | ★★★★ | September 2024
MR PUNCH AT THE OPERA | ★★★ | August 2024
FABULOUS CREATURES | ★★★ | May 2024
THE BOOK OF GRACE | ★★★★★ | May 2024
LIFE WITH OSCAR | ★★★ | April 2024

 

 

HEISENBERG

HEISENBERG

HEISENBERG

Fairy Tales
★★★★

Lilian Baylis Studios

Fairy Tales

Fairy Tales

Lilian Baylis Studio

Reviewed – 27th June 2019

★★★★

 

“There is absolutely no need to consider Fairy Tales in a category of its own – it is fully-fledged dance by gifted dancers”

 

The power of the arts has always been a rich source of self-expression, enjoyment and emotional release; we can all discover an inner voice, hidden talents or absorbing satisfaction. As the younger sister of an autistic brother, Rashmi Becker realised, early in life, the benefits of dance for disabled people to improve communication, coordination and reduce anxiety. Passionate about dance herself, she lent immense support and energy to promoting inclusive activities before setting up Step Change Studios in 2018. This project gives everyone, regardless of age or ability, the opportunity to find pleasure and achievement in courses, workshops and developing performances that showcase the all-embracing possibilities of their work. After last year’s ‘Strictly’-inspired ‘Fusion’, Step Change has stretched both imagination and talent with their new show, ‘Fairy Tales’. Born within a collection of popular tales from around the world, creatives and dancers conjure up a varied yet harmonious collage of narrative, characters and ambiences.

After a mood-setting welcome read by Chanaye Armorer Dumbuya-Johnson, whose mother is a cast member, we are swept into the secret fairyland of the twelve dancing princesses with the grace and charm of Adrienne Armorer, Abigail Brown, Clair Gleave, Laura Jones and Freya Spencer. And their spell continues to enchant, soothe and captivate. In solo numbers, Romano Solano’s exquisite fluidity of movement and Pawel Karpiński’s bold command of the stage convey ideas of beauty and self-esteem from The Ugly Duckling and Anastasia’s nostalgic mood. Against a background of blue sky and white clouds, Laura Jones and Lauren Russell glide and float as free spirits while Rashmi Becker joins Romano Solano in a magical, sparkling take on Sleeping Beauty and Anna Alvarez creates and interprets a powerful and beautifully integrated duo with Sander Verbeek as they tell the Inca tale of ‘The Skeleton Woman’.

Particularly moving is the sincerity of Clair Greave and Andrew Self’s care and affection as they glide and spin to Someone to Watch Over Me. Adding a nightmarish note, Pawel Karpiński, Joshua Moore, Romano Solano and Sander Verbeek show physical versatility and artistic flair in a dynamic Red Riding Hood and it is impossible to resist the foot-tapping fun and energy as Kat Ball, Abigail Brown, Natasha Julien and Freya Spencer take to the floor to bring The Red Shoes to life. Closing the evening, Lauren Russell blends with the skilful elegance of classical Indian Kuchipudi dancers, Pragnya Dara, Arunima Kumar, Bhagya Lakshmi and Sravani Vootukur in a celebration of Vishnu and his tale of renewal and hope.

There is absolutely no need to consider Fairy Tales in a category of its own – it is fully-fledged dance by gifted dancers. The cleverly picked story fragments matched with perfectly-chosen music, the sensitive choreography and artistic expertise combine to shine in an entertainment which stirs a flood of emotions.

 

Reviewed by Joanna Hetherington

 


Fairy Tales

Lilian Baylis Studio

 

Previously reviewed at this venue:
Dystopian Dream | ★★★★★ | November 2018
Layla and Majnun | ★★★½ | November 2018
Tom | ★★★★ | November 2018
Swan Lake | ★★★★★ | December 2018
Bon Voyage, Bob | ★★½ | February 2019
The Thread | ★★½ | March 2019
Mitten Wir Im Leben Sind/Bach6Cellosuiten | ★★★★★ | April 2019
Rite Of Spring | ★★★★★ | May 2019
Constellations | ★★ | June 2019
Elixir Extracts Festival: Company Of Elders | ★★★★★ | June 2019

 

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