As with any trip to a pub/theater venue, I start first with a drink. The Golden Goose is certainly unique; I am greeted by some friendly regulars, and a sweet plodding dog. A continuous mix of 80s hits plays in the background (Hit to be Square, Take on Me, Elton John...). We are all watched over by a TV showing a silent but subtitled GB News. The venue sits in this uncanny space between approachable and perhaps a little unnerving. As a first-time visitor though, I am made to feel incredibly welcome. Entering the theatre itself, we find ourselves confronted with a set of a British back garden. Bird song and the occasional car. A man walks pensively about the stage. Director Brittany Rex clearly likes to do this kind of pre-play scene setting, the previous play of hers I saw similarly had characters waiting for us on arrival. I like it too. All of the above accurately set the tone for the play that followed: David Solomon's Dad. A new piece of writing that is banterous, warm, a...
It is not all that often that I have trouble writing a review, but for Firebird, it has proved a real challenge. Phil Davies's Firebird follows the grooming of a fourteen year old girl, Tia. She is vulnerable, having been in care since the age of three. A decade on from its first performance, Firebird plays at The Southwark Playhouse, in a revival directed by Marlie Haco. The play opens with Tia and her friend Katie talking (and drinking). Katie attempts to play a game with Tia - who could not be more disinterested. This, amongst other elements, creates a maturity gap, or even fun gap, between the two. Tia's more "mature" disposition is seemingly a sign of what is to come... or what has already happened. The play is somewhat non-linear, and we as the audience are dropped into a situation with very little understanding. It is us that has to piece together all the events in this play. This very deliberate incitement of confusion is all the more compounded by Tomas P...