Review: A Slow Fire (Jermyn Street Theatre)

Review by Molly Gulvin

⭐️⭐️⭐️⭐️

Post-apocalyptic stories tend to share some common themes: adventure, action, and death-defying moments that leave audiences desperate for more. A Slow Fire, however, contains very little of this. Simon Stephens’ work, which is making its London debut at the Jermyn Street Theatre, instead takes a more introspective look at humanity and connection in a post-apocalyptic world, exploring how the past and future feel when the present is so bleak. After a successful first outing at the Dublin Fringe, would the play create the same waves in London? 

A Slow Fire focuses primarily on Ashton and Reece, two men who ended up together in a bunker at the start of the apocalypse. Having survived for around three years, the pair often rehearse and perform ‘moments’ from their past and future, aiming to keep hopes high during their isolation. When Presley, a fellow survivor, bursts into the bunker, the men are forced to confront the complacency they have reached and their lack of understanding of the new outside landscape. The play inspects the relationships that the men form, and how their experiences both within and outside of the apocalypse shape the way they face the new world. The narrative doesn’t follow the adventurous route of many post-apocalyptic works; instead, it examines the impacts of an apocalypse on the sense of self within people through a series of scenes spanning a few months. 

Simon Stephens has a list of writing credits that is applause-worthy within itself, so it is unsurprising that this work demonstrates true excellence in its writing. From its first words, the more intricate approach to the post-apocalyptic genre is evident, and this approach is consistent until the very end. By about halfway through the first act, I was moved to tears by the raw emotion that the dialogue evokes, particularly in one of Ashton’s ‘moments’ where he is speaking to his dying mother. This is, without doubt, enhanced by the actors’ performances, but Stephens’ writing is a constant brilliance that solidifies the entire play. Despite the exceptionally bleak subject matter, there are still light-hearted moments, and sections of normality that create a reminder of the similarity between the characters and the audience. However, there are a few moments that feel more rogue within the writing, such as a rather startling revelation from Presley towards the end of the play. This moment particularly felt disjointed, taking away from some of the more nuanced implications that had been crafted into the narrative. 

Something absolutely remarkable about Stephens’ writing is his way of approaching characters. It’s safe to say that the three men have been through enough trauma from surviving an apocalypse, but all three have experiences beyond that which help to flesh them out immensely. For example, Reece, in one heartbreaking scene, discusses the fact that his relationship with his son was left on a rocky note in their last interaction and that there’s no guarantee he’ll be able to repair that bond. The connection between the audience and characters is strengthened by this depth, and I believe that any of these men could be placed into a setting outside of the apocalyptic world and still feel three-dimensional, something that is no mean feat to achieve when such a large event forms the basis of the play. 

Rex Ryan directs this production, and does so with a skilful hand. He has a very clear vision for the work, and this is evident in every motion within the play. The beats of silence - and music - are handled expertly, truly enhancing the emotional core of the work with the ability to allow silence to reign when necessary. Only a few moments slip away from Ryan’s careful control of the play, leading to some untimely laughter during more dramatic moments. The alignment of the creative aspects of the work, alongside the onstage performances that feel in sync with each other in every beat, is clear evidence of his excellent direction.

The four performers in this piece work wonderfully as an ensemble, but each has individual shining moments that highlight their skills. Holly Demaine, playing the yet-to-be-mentioned Mary, may only appear in one scene, but makes the absolute most of every second she is on stage in a truly eerie performance that transcends the small space of the Jermyn Street Theatre. Fionn Ó Loingsigh, as Presley, provides a performance full of depth and emotional nuance, especially in his first and final scenes that differ quite violently from each other, but serve to demonstrate his wide range. Ross Gaynor and Ian Toner, as leads Ashton and Reece respectively, present a bond that truly realises the codependence that the characters undoubtedly would have in an apocalyptic world. Gaynor plays the gruff Ashton wonderfully, capturing the audience’s attention with every word he speaks. Toner is a perfect Reece, establishing a balance between the character’s optimism and realism at every moment he can. These four performers create theatrical brilliance between them, and their passion for the play is clear in every scene. 

The scenic and costume designs for this production truly help to solidify the post-apocalyptic setting. Andrew Clancy’s set design, for example, brings the bunker that the men are stuck in to life, adding pieces of humanity to it that help to enhance the characterisations. The same can be said for Migle Ryan’s costume designs, which have the battered nature that would be expected of the genre, whilst still bringing through the personalities of the characters where possible. For me, Jess Fitzsimons Kane’s lighting designs are a highlight: the lighting within the bunker is reminiscent of fluorescent bulbs and has the interrogative nature that is so common within post-apocalyptic works, but also contains some warmth for when the scene calls for it. Her lighting behind the stage, representing the outside world, feels haunting and reinforces the apocalyptic atmosphere perfectly. 

I’ve read that A Slow Fire has already found a US premiere at the start of next year, and to me that is entirely unsurprising: this is a work that contains absolute excellence at its core, and is brilliantly executed within this production. I can only hope that the play has further life in London too, as it highlights an element of the post-apocalyptic genre that is so often overlooked, and does so with a masterful narrative. A Slow Fire has heart, soul and humanity in every word, and is performed with a clear love for the text. The two hours I spent inside the Jermyn Street Theatre felt like nothing at all, and I truly discovered why this story needed to be told. 

A Slow Fire plays at Jermyn Street Theatre until 26th September. Tickets are available from https://www.jermynstreettheatre.co.uk/show/a-slow-fire/