Firebird review

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 Palmer's minimalist set. It has a conceptual weight of traumatic memories being fuzzy, or even repressed. Another intelligent visual element: objects used at various points in the play (vodka bottles, clothes, takeaway packaging) are kept scattered around the stage. The objects a sign that traumatic memories are a burden, that they cannot be shaken. Also brilliant is Ben Jacob's lighting. Fluorescents hidden around the sides of the stage are bought towards the centre in order to simulate the harsh lighting of a kebab shop. At a later point in the play, a panel is opened in the ceiling in order to allow "sunlight" to creep through. Tia basks in this glow as if it is the first time in days, weeks even. 

Firebird felt a little over acted in the first few scenes for the size of the space, but this is a real nitpick. I wonder if this deliberate to give a contrast to later scenes in the play. Some scenes of dialogue, although highly naturalistic, feel like they could be shorter and still advance the narrative. This production takes place in Glasgow, rather than the original Rochdale (perhaps chosen because of the cast's accents, but could also be drawing on their own experiences. I wonder if there would be a certain "gutsy-ness" in keeping the play set in Rochdale. When much of the political football of the grooming gangs has centred around towns like Rochdale is this shying away from partisan conflict of the day?

But this, to some extent, goes to the heart of the play itself. No broader discourse, no systemic analysis, just a dissection of a microcosmic event. We are supposed to feel Tia's very personal struggle. That is the goal. 

Firebird has an undeniably brilliant cast, with all members showcasing both depth and sensitivity. Taqi Nazeer plays AJ, Tia's groomer. At AJ and Tia's first meeting, AJ is just a friendly stranger, who offers her onion bhajis. He says it is "good to try new things" then subtly gestures to himself, as a grim act of flirtation. It is small elements like these that make the show feel real. 

Nazeer also takes on the small role of a police officer interviewing Tia. Tia describes how a man took off her clothes, and she cannot bring herself to say what happened next. “I’m really sorry that happened to you” is his response, delivered in a monotone voice, with such apathy. At this point I actually had to prevent myself from shouting at him. This is just a hint at wider systemic problems: not being believed, not being treated with respect, wholly inadequate investigations. 

On the night I attended, the production had to be paused in order to fix a technical issue. The cast and crew demonstrated utmost professionalism in this moment. A break like this would usually throw me off focus, but on this occasion I found the complete opposite. The short recess gave me the opportunity to sit with my own emotions, and to contemplate the events I had seen so far. This production really made me angry. 

This production examines how sexual predators take advantage of their victims, and to have it spelled out in this level of detail, is horrific. Firebird conjured such feelings of resentment and disgust in me to a degree I have not felt before. I spent almost the entire play shaking my head; I felt I understood why these scandals conjure so much such strong emotions. Never have I been so blinded with anger at the content of a production. I feel totally inadequate to attempting write about this show. I felt somewhat ashamed that I got to go home to safety after seeing something like this. Victims have no such luxury. 

On this occasion I have decided not to provide a star rating. I cannot provide a rating that I feel is an accurate summation of the play. But to be clear, all those involved with this production should take real pride in what they have achieved. This is an extremely strong show, and one that conjured a deep intensity of emotion for me.

I would encourage anyone to see the show before it ends its all too short run.