★★★★

“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.

THRILL ME – THE LEOPOLD AND LOEB STORY

Waterloo East Theatre

★★

“the twisted true crime core still holds interest”

Fifteen years since its London debut, Stephen Dolginoff’s ‘Thrill Me: The Leopold and Loeb Story’ returns with another dose of murder and manipulation. Like its characters, this true crime musical aims high but the execution doesn’t quite come together.

Inspired by true events, Nathan Leopold seeks parole decades after committing the ‘crime of the century’. Rewind to 1924 Chicago, his toxic bond with Richard Loeb spirals into a twisted mix of love, lust and privilege – until an innocent boy pays the price.

Dolginoff’s book has bold intentions, but the storytelling leans a little too heavily on exposition to build tension effectively. The characters could do with more space to deepen, currently feeling more sketched out than fully inhabited and making it harder to enter their distorted world. As a result, their devilish dynamic never quite earns its extremes and the impact of the final reveal is softened. That said, the twisted true crime core still holds interest.

Dolginoff’s music and lyrics have their bright spots – especially the trading of melodies and the rich harmonies. However other parts of the score feel less distinctive: some stylistic choices don’t quite match the emotion of the scene, and a few songs feel repetitive. Still, there’s a solid foundation.

Gerald Armin’s direction has some thoughtful touches and slick transitions, though the emotional beats don’t always land. The largely static staging and slightly clumsy seduction scenes keep the energy low and the chemistry muted, making the pair’s unusual connection harder to buy. Some pivotal moments like the fire scene could do with more urgency and clarity, and Nathan’s characterisation could use stronger definition. With more movement and sharper emotional focus, the piece could land far more powerfully.

Waterloo East Theatre’s design offers a clear aesthetic, with tiered blocks adding shape (though they don’t all feel essential) and papered surfaces smartly foreshadowing the pair’s future notoriety. Costumes neatly contrast their personalities, and the props feel suitably period. Jonathan Simpson’s lighting shifts place and tone effectively, though the shadowy prison settings hide Nathan’s eyes, making this unreliable narrator a little too inscrutable in places. The sound balance is mostly steady, with the occasional spike when the actors drift too close to each other’s mics.

Rufus Kampa gives a strong all round performance as Richard, pairing confident vocals with narcissistic charm. Jamie Kaye’s singing is a real strength, though a little more light and shade in Nathan’s characterisation would deepen the role. Richard Cunningham’s dual roles as the voice of the parole officer and newsreader add welcome weight and urgency.

This iteration of ‘Thrill Me: The Leopold and Loeb Story’ doesn’t quite live up to its name, but with some tightening it could earn its parole.

Tag Archives: Hannah Bothelton

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

THRILL ME – THE LEOPOLD AND LOEB STORY

★★

Waterloo East Theatre

THRILL ME – THE LEOPOLD AND LOEB STORY

Waterloo East Theatre

★★

“the twisted true crime core still holds interest”