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A CurtainUp 
London Review
London ReviewWildefire
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"The test of police efficiency is the absence of crime and disorder, not the visible evidence of police action in dealing with it." — Sir Robert Peel
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Tara Hodge, Sammy Hayman, Simon Manyonda and company (Photo: Ellie Kurtz) |
Roy Williams' account is balanced : the police here are neither all good or all bad but human beings that make mistakes and who have to live with the consequences of those mistakes. With Maria Aberg directing, the view of London is one of gangs of hoodies on council estates, domestic violence, rioters and in one distressing scene, policing out of control and barbaric acts from scavenging young. With James Farncombe's atmospheric darkened lighting, London looks sinister and dangerous.
Gail is nicknamed Wildefire for her fiery temperament, a reputation earned at the Police Cadet College. She joins a station of the Metropolitan Police full of enthusiasm, a breath of fresh air. Her more experienced partner is Spence (Ricky Champ) but even with experience, as police officers they find themselves dangerously isolated and alone. And under-resourced.
In trying to solve a case, Gail reveals the details of an impending operation and is caught up in corruption. Roy Williams shows how this can happen to decent people who lose sight of the probity expected in their role. This is the world of informers, the networking with criminals which draws the police into a criminal world.
Williams throws into sharp relief the sexism of the male police officers towards their female colleague. When investigating a domestic violence incident, Gail has difficulty in getting the woman to explain the truth surrounding her black eye after a neighbour heard her head being slammed against a wall by her partner. So even the victims are sometimes not willing to confide in the police.
We touch on Gail's personal life as a wife and mother with the difficulties of being married to someone outside the force. An emotive funeral has black singers singing a spiritual as we are reminded of the dangers to policemen and women.
A riot is artistically created on stage with the whole cast shaking with epileptic type tension. There is smoke and clashes, illuminated by batteries of spot lights, red lights and riot shields as police take on the hoodies.
The performances are sound, especially Lorraine Stanley's conflicted Gail who we see descend into expediency and wrong. The sets are post industrial bare iron work and blocks of side lights.
I didn't enjoy Wildefire as much as Roy Williams' other plays but acknowledge the importance of his subject matter. Wildefire makes us reflect on the distance between the public and the police force and the loss of trust.
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| Wildefire
Written by Roy Williams Directed by Maria Aberg Starring: Lorraine Stanley, Ricky Champ, sharlene Whyte With: Eric Kofi Abrefa, Cian Barry, Danny Dalton, Sammy Hayman, Tara Hodge, Fraser James, Simon Manyonda, Noof Ousellam, Danielle Kassarate, Lewis Davidson, Stefan Ruiz, Azara Meghie, Nolan Willis Designer: Naomi Dawson Lighting: James Farncombe Sound Design : Gareth Fry Movement Director: Ayse Tashkiran Fight Director: Kate Waters Running time: Two hours 20 minutes with an interval Box Office: 020 7722 9301 Booking to 29th November 2014 Reviewed by Lizzie Loveridge based on 13th November 2014 performance at the Hampstead Theatre, Eton Grove, London NW3 3EU (Tube: Swiss Cottage) |
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