The path of any relationship is full of uncertainties. And Heisenberg at the Wyndham’s Theatre demonstrated that in full. Starring Anne-Marie Duff and Kenneth Cranham, Heisenberg is a romance which may or may not have had one or more sub-plots. One of which may or may not have been true. And given the American lead character, there may or may not have been some moral tale to tell.
Heisenberg’s Uncertainty Principle was referenced several times just to make sure you got the point. Or the wave. If the Principle is unfamiliar- look it up. This is science, do your own research.
Oh, OK then. I’ll do it for you. In simple terms it’s the discovery in the 1920’s that it is not possible to measure with precision simultaneously both the position and the momentum of quantum object. I’m fairly certain about that.
The romance between Alex, the level-headed 75-year-old, and Georgie, a 42-year-old woman who admits most of what she says may be untrue, is developed by a series of apparently random events, starting with a chance meeting, performed on a stage which itself is unstable. The simple but beautifully lit black and white set expands and contracts – a railway platform, a shop, a bedroom, a river bank – but (more Schrodinger-like than Heisenberg) it doesn’t resolve until it is observed.
With the plot we never see enough to resolve whether this is a true love story or a fraud. But it has a charm (see what I did there) and stylish wit throughout. Cranham gives Alex the patient wisdom and self-sacrifice often attributed to those who grew up in London’s wartime. With Duffy’s Georgie you are never sure who she really is – lover, mother, fraudster. At times hysterical, thoughtful, passionate, caring, uncaring.
As with any play about relationships, you need to buy in to the characters, in to the conceit of the play. I did. But I can’t say for certain if you will.