Theatre review: A Slow Fire

Simon Stephens has had shows open in major West End houses but his latest gets its UK premiere in one of the most intimate spaces in the middle of Theatreland: Written for Irish theatre company Glass Mask, A Slow Fire transfers to Jermyn Street, a venue famous for having to make such inventive use of a small space that the audience has to cross the stage to get to the toilets. And a cramped space is appropriate for a story set in a nuclear bunker: Ashton (Ross Gaynor) and Reece (Ian Toner) share a space built by the former, once a theology lecturer at the university where the latter was a porter. How they ended up in there together is down to pure chance as much as anything, but they've managed for three years now since the unnamed apocalyptic event that seems to have killed most of the population.

The world outside isn't entirely out of bounds to them: Occasionally they feel safe enough to go outside, see what's changed - people seem to be stealing the railway tracks for some mysterious purpose - and get supplies, but food and water remain scarce.

In a play about holding on to hope even, and perhaps especially when, it threatens to destroy you, the two men have developed a regular pastime that comforts them as much as it can infuriate them: "A moment of hope that defined your life," in which they live out significant moments from their lives, taking turns to play each other's significant figures. Not just moments where the hope is fulfilled - Reece relives the moment where he realised his son didn't feel much of a connection to him, as well as first asking out the boy's mother; Ashton remembers being turned down for a promotion as well as times with the first boy he had a crush on.

In the second act this two-person dynamic is broken up by the arrival of Presley (Fionn Ó Loingsigh,) a volatile character who disrupts the survival tactics the men have developed. There's also a fourth character played by Holly Demaine and I have no idea why the production keeps her uncredited - her brief appearance comes way too early in the story to constitute any kind of twist.

This is an eccentric little slice of dystopia but Rex Ryan's production keeps you interested. The first act could be a bit shorter perhaps, the actors have very well established their codependent but oddly sweet relationship by the time it's challenged. But with touches of Philip Ridley in both the setup and the way it's essentially a dark meditation on hope - what with one character being called Presley that comparison can't be accidental - I found a lot to enjoy here.

A Slow Fire by Simon Stephens is booking until the 26th of September at the Jermyn Street Theatre.

Running time: 2 hours 10 minutes including interval.

Photo credit: Alex Brenner.