Anne-Marie Duff and Kenneth Cranham star in Simon Stephens’ play of love and physics. Here’s Love London Love Culture’s round up of the reviews…

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In this uncertain world, who can predict what brings people together? When two strangers meet by chance amidst the bustle of a crowded London train station, their lives are changed forever.

The Guardian: *** “Both actors are excellent and the play has many moments of quiet pleasure. Yet I can’t help feeling it is an escapist fantasy.”

The Telegraph: *** ” if there’s something genuinely cherishable about the evening it’s the way Cranham beautifully charts his character’s shift from reticence to release, like a grumpy cat that warily rolls over to let its tummy be tickled by a stranger.”

Time Out: ** ” Marianne Elliott’s spare, vivid production, with its dazzling light-based set from Bunny Christie and occasionally overwhelming Nils Frahm score, is blessedly chintz-free. But she’s the one who programmed ‘Heisenberg’ as the opener to her new West End season of work – it feels like a peculiar opening statement.”

The Stage: *** “Cranham and Duff are both fine actors. His understated performance offsets her more frenzied presence and there’s a sense of connection between them.”

Culture Whisper: ** “It’s just a shame that this story of uncertainly, randomness and excitement ends in the most predictable way.”

The Independent: *** “Duff brilliantly suggests the deep hinterland of hurt behind the woman’s volatility –  the fiercely dogmatic and desperate way she offers divergent responses to key questions, such as those about impurity of motive. ”

WhatsOnStage: *** “It all adds up to a touching if low-key start to a brave new venture.”

Exeunt Magazine: “To be honest, if this was a play in a tiny studio by some emerging writer, I’d be more forgiving, be more taken up with praising the dialogue and the scientific underpinnings. But it’s two top-tier actors and the ridiculously talented Stephens, launching Elliott’s new venture in the West End, and it feels like it should come to more than this.”

The Times: ** “This is a very simple play posing as something more sophisticated: it’s desperate to be a cool science play but is really a dressed up version of boy-meet-girl. Sorry, but it’s true.”

Evening Standard: *** “But while her production is undeniably bold, revelling in the great swathes of primary colour that suffuse Bunny Christie’s minimalist set and in the haunting music crafted by piano-playing retronaut Nils Frahm, the play feels slight. It’s also oddly predictable — flecked with moments of charm, yet sometimes clunkily portentous.”

British Theatre.com: *** “It all adds up to a very low key evening, a play that’s interesting than involving.”

London Theatre.co.uk: **** “Don’t be intimidated by the title: Heisenberg: The Uncertainty Principle. This isn’t a play about the German physicist, but adapts his theory to emotions.”

The Reviews Hub: **** “The more we watch the characters on stage the less we know where they are going, and Cranham and Duff are eminently watchable in this smart production.”

Broadway World:*** “Elliott lends texture to the 90-minute play with a strongly expressionistic production that illustrates the infinite strangeness of human experience.”

City AM: ** “When the set is the only saving grace of your production, however, you’re in trouble: Heisenberg may have had rave reviews on Broadway, but don’t be fooled: the only certainty here is that you should avoid it altogether.”

London Theatre1: *** ” it is satisfyingly amusing, and far more approachable and accessible than the show’s title would suggest.”

West End Wilma: ** “Just because you have theatre royalty on stage and an award-winning creative team doesn’t guarantee a successful result, as proven with Heisenberg.”

The FT: *** “The piece overall, too, feels moderately wacky by West End standards but restrained on Stephens’ terms, as if he were either testing how far he can take a mainstream enterprise or simply dealing discretely with two different constituencies, here and in his more characteristic work.”

British Theatre Guide: “Anne-Marie Duff is a delight to watch as she depicts the slightly unstable but rather lovable Georgie. With lesser material, Kenneth Cranham does a good, sensitive job of bringing understated Alex to life as her foil.”

Radio Times: **** “The theory might say you can’t know where you’re at or where you’re going at the same time, but you’ll know you enjoyed the journey.”

The Spy in the Stalls: **** “At ninety minutes I was left wanting more. But this, I am sure, is intentional. We are still uncertain.”

Theatre Cat: “For all the plonking significance it’s the good old two-lonely-people-odd-couple tale, which as rom-com writers know depends on charm. This Cranham bestows on his elderly character with ease; but Anne-Marie Duff is given a near-impossible job finding it in hers.”

Heisenberg: The Uncertainty Principle will play at the Wyndham’s Theatre from the until the 6th January 2018. To book tickets visit: Ticketmaster.co.ukDiscount Theatre.comTheatre Tickets Direct.co.uk, Love Theatre.comTheatre People.com and Love London Love Culture

 

 

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