Review of ‘Fire Fire’: “Promising premise doesn’t go up in smoke, but it doesn’t ignite the flame either”

Here comes another climate change play that’s surprisingly not preachy. For the record, I’m not part of the deniers’ group. But a call to action works only when you inspire people, not tell them what to do or think. Fortunately, John Webber demonstrates higher competence in that department, and the result is a gripping, introspective plot idea. If it had been adequately fleshed out, now we’d be talking about one of the must-see events of the season.

It’s not a show to avoid. It has enough substance to give it a fair chance. But it’s a somewhat disappointing journey. Two strangers bump into each other (no cakes involved) in an extremely awkward situation. Paige and her environmentalist group have caused severe disruption during their last protest, which has interfered with Eddie’s plans for the day: a memorial for his recently deceased brother. Albeit far from a meet-cute moment, a friendship will gradually develop, with both learning about each other’s views on life and somehow growing from them.

Overall, the dialogue is deep, and the characters are well constructed. They complement each other, and they are natural, believable, and relatable. For the most part, the scenes are engaging, except for the poetic sequences placed in between — a questionable stylistic choice that feels intended to satisfy the author’s intellectual vanity rather than deliver actual profundity, and which has little to no engaging effect.

Although the initial conflict is adequately established, the resolution comes off rushed and melodramatic. The climax, which I’d prefer not to spoil, could work if it had been preceded by a better-paced buildup. Sadly, Eddie’s radical decision seems to come out of nowhere. Despite the personal struggles he’s been through (being shunned by almost his entire family and finding himself alone and hopeless), the exploration of his suffering is still vapid. And the bond with the viewer is too thin to have the shocking, heroic impact it’s supposed to.

The script tries to add a layer of spirituality through Paige’s fascination with ancient deities. It’s a pulsating element, but it isn’t impactful. Although it serves a purpose in the narrative, it isn’t pivotal enough. And ultimately, it’s a slightly clunky attempt to capture the play’s ethos — and a disposable one as well.

The performances deserve every praise; they are admittedly some of the finest acting London’s late-summer season has to offer. Both Chris Simmons and Gabriella Brooks deliver astounding portrayals that overflow with honesty, complexity, and rapport. Their presence is magnetic, and their understanding of their personages brings a level of truthfulness that’s been rarely seen lately.

It’s more than a propitious premise. The foundation is solid, with some flickering moments of brilliance. As such, Fire Fire should be considered a slow burner. Not in dramaturgical terms, but regarding its creative process. It’s not quite there yet, but it has the necessary fuel. All it needs is that extra sparkle to let its potential blaze out.

All pictures credit to Mark Senior.

Fire Fire plays at London’s Arcola Theatre until 3 October. Tickets are available on the following link.

By Guillermo Nazara