Faline England (Georgie) and Jenny Galloway (Alex) in Heisenberg [Charlie Flint]

IN St Pancras station, Georgie (Faline England) a young American woman, plants a kiss on the unsuspecting neck of Alex (Jenny Galloway), a shy, 70-something butcher sitting on a bench.

In this bold reimagining of Simon Stephens’ play, Alex is recast as female giving a refreshing queer twist to the tale.

When a few days later, Georgie attempts to befriend Alex, turning up at her shop uninvited, the older woman is rightfully suspicious.

Georgie claims things that prove to be false – she’s not actually a waitress at Ottolenghi, but a receptionist at a primary school – so when she invites Alex on a date we immediately mistrust her motivations.

Stephens is clearly playing with the uncertainty principle identified by the German physicist Werner Heisenberg: that we cannot precisely know both the position and the momentum of a particle at the same time.

We are left guessing as to where this relationship might end up, especially when we discover that Georgie has ulterior motives for ensnaring Alex.

Gradually, unexpectedly, the unlikely pair find points of connection. Georgie brings colour and energy to Alex’s quiet, orderly existence. Suddenly the possibility of love is exciting as Alex admits she hasn’t had a relationship for many years.

In turn, Alex seems to ground Georgie, offering her stability. She shares her love of music with Georgie and even teaches her how to tango.

Galloway’s understated performance beautifully complements England’s expressive exuberance.

Katharine Farmer’s assured production plays out on a largely bare stage – relying on two chairs and Rajiv Pattani’s evocative lighting to convey various locations.

The plot may stretch plausibility at times, but Heisenberg is delivered with real heart.

Until May 10
arcolatheatre.com/