★★★★

“smoulders with complexity”

The world premiere of David Pearson’s debut play ‘Firewing’ is a potent slow burn, pushing you to finally see what’s right in front of you. Uncovering the power of connection in breaking self destructive cycles, ‘Firewing’ offers a quietly charged counter to prevailing views on masculinity.

In the middle of nowhere, renowned wildlife photographer Tim is chasing his white whale – the near mythic Firewing. Marcus, his latest rookie apprentice, says he’s here to learn. But both men are hiding something and with nothing but time and open sky, the truth will out.
This debut play from INSPIRE programme graduate, David Pearson, artfully distils the deep tension between self-preservation and transformative change. Focusing on two men who seem worlds apart, Pearson deftly illuminates how much they truly share. Exposing how the seemingly wise can be so blind – especially to themselves – Pearson channels striking depth into a quietly breathing character piece. Beginning in real time, it expands into other moments including a potent flashback which sharpens the men’s parallels – though I’m curious if this could be woven in somehow to keep the present day tension taut. A handful of lines could be trimmed where beats have already landed, however this remains a strong, sharply observed piece.

Director Alice Hamilton, with assistant Yanlin Zhang, lets the piece breathe beautifully. By finely balancing momentum and stillness, it invites us to lean in and catch the unspoken – though a couple of moments could use an extra beat to lift it further into naturalism. The transitions are potential opportunities to involve the actors in the fast forwarding world, but Hamilton’s direction lands with assurance and clarity.

Good Teeth’s design is breathtaking, recreating a lakeside hide complete with water. The manmade structure contrasts spectacularly with prismatic silver strips evoking a birch forest. The design pairs beautifully with Jamie Platt’s stunning lighting, full of gorgeously complex shades of dawn and dusk, with more neutral lighting framing moments of focus. Harry Blake’s sound design is subtle yet vital, immersing you in nature from the start. Costumes, supervised by Sharon Williams, feel naturalistic while quietly highlighting contrasts.

The cast excels at finding light and shade in this finely drawn character study. Gerard Horan’s cantankerous Tim gradually unfurls for the first time in decades, his self-preserving gruffness giving way to tentative vulnerability. Charlie Beck’s wayward Marcus strains between circumstance and the future coming into focus, creating subtle yet unmistakeable tension. Their chemistry shifts with striking clarity, capturing the full spectrum of their connection.

‘Firewing’ smoulders with complexity, drawing hope from the hardest places. It’s a compelling and finely judged debut, marking Pearson as one to watch. See it before it’s gone.

GENTLEMEN at the Arcola Theatre

★★★★

“There are brilliant nods to The History Boys in this performance, but it feels like a fresh, very current take on those dynamics.”

Three men sit in the welfare office of a prestigious British University. It is never stated whether it is Oxford or Cambridge, but it doesn’t matter, it’s one of the two. There has been an incident of plagiarism and one student, the quintessential lad about town Greg (Charlie Beck) is accused of copying his quiet bisexual peer Casper (Issam Al Ghussain). Bumbling and cringeworthy welfare officer ‘Timby’ (Edward Judge) just wants to show he’s one of the boys – he’s a student too! Laddish showboating, mute resentment and shameless pandering continue as do the reported incidents. But as the severity of the accusations escalates, so too does the complexity and moral confusion of these three characters.

Richard Speir’s direction complements Matt Parvin’s script to create a tense and uncomfortable piece, which subverts and contorts traditional power dynamics and builds a mounting sense of dread. The play is also very funny, especially at the beginning. The first half builds up archetypal characters which the second half breaks down. It could have taken it further, but the moral tangles and muddied sense of right and wrong which the play toys with are fascinating.

All three performers have shining moments. Beck brings emotional depth to the laddish party boy Greg, and his performance is genuinely moving. Al Ghussain has mesmerising physicality, demonstrated particularly in a piece of physical theatre during a dream sequence and a joyous moment of dance. However, the stand-out performance is from Edward Judge as the tragic, and easily swayed welfare officer. There are brilliant nods to The History Boys in this performance, but it feels like a fresh, very current take on those dynamics.

Cecilia Trono’s set is an evocative, naturalistic replica of this kind of office, and the attention to detail transports us there. Will Alder’s lighting design is able to go wild in a nightclub scene and a dream sequence, and Jamie Lu’s sound design becomes particularly interesting in the second half.

The play is not perfect, and there are certainly elements that don’t work. For example, there are repeated references to General Franco’s attitude to gay men, which is not explored in enough detail to make it worth including, and feels like a lack of confidence in the beautiful simplicity of this concept. The best part of this play is the claustrophobic moral mess that these three men are trapped in. However, the idea behind this play, and the way it explores it, is interesting enough to make it recommendable.

Tag Archives: Charlie Beck

FIREWING

★★★★

Hampstead Theatre

FIREWING

Hampstead Theatre

★★★★

“smoulders with complexity”

FIREWING

Hampstead Theatre

Reviewed on 27th April 2026

by Hannah Bothelton

Photography by Pamela Raith

FIREWING

FIREWING

FIREWING

Gentlemen

★★★★

Arcola Theatre

GENTLEMEN at the Arcola Theatre

★★★★

“There are brilliant nods to The History Boys in this performance, but it feels like a fresh, very current take on those dynamics.”