We take a look at how David Pearson’s play is going down with critics…
Broadway World: “Pearson clearly has much to say on why we make art, and so perhaps Firewing should have zoomed in more closely on the quest for artistic glory represented by its title.”
The Guardian: “In the end, the play is as much about fathers and sons as it is about creativity or mentorship. Both men have complicated relationships with their fathers. The structure of the play enacts one of these, and not the other, with a too neat ending, but there is a richness of subject matter and gripping performances. Again and again, this theatre’s downstairs space for emerging writers has revealed talent in the making. This is yet another.”
The Stage: “Sweet, slow-moving two-hander about birders contemplating human connection and the craft of photography.”
LouReviews: “Firewing doesn’t quite live up to its themes, and by the end has fallen into cliché, but Pearson – a graduate of the INSPIRE programme – has an intriguing voice which marks him as one to watch.”
Everything Theatre: “Firewing is a thoughtful if uneven piece. The characters are well drawn, and it clearly understands how what we don’t see, what is left outside of the picture, can define us. It feels cluttered, though. A little more focus through the lens would go a long way. Still, it left me wondering where my camera kit is (my parents’ attic) and missing the days I looked at more through the lens.”
The Reviews Hub: “There are a few funny lines to temper the story of second chances, but unfortunately, there are also two moments of unintentional comedy, both involving a certain element of Tim’s future, which are a little on the nose. Still, Jamie Platt’s shimmering light design provides some sense of gravity to the end of Tim’s career.”
Plays To See: “All in all this is a very worthy new work: while there are a few rough edges still in the transitions between the early scenes, the play gathers its threads very convincingly, and marks a notable debut.”
The Arts Desk: “Pearson gives the piece a relatively feelgood ending, in which we can see Tim’s tutelage has produced results in Marcus, not least his enhanced understanding of the importance of emotional honesty. And for Tim himself, there is always the firewing photograph, which by the end has taken on the full status of an impossible dream that fleetingly came true. Inevitably, it feels like a chamber piece, but there is a punch to the dialogue that makes you hopeful for Pearson’s future writing.”
All That Dazzles: “Alice Hamilton’s direction keeps the play interesting, with its 85-minute runtime always capturing attention, almost papering over the cracks where gaps in the story appear. It is a testament to her direction how pacey the whole production feels, with one notable exception.”
London Theatre 1: “Not all of the narrative points quite fit, and I can’t help thinking there were missed opportunities here to explore in greater depth the idea that just because one was born on the wrong side of the tracks, one does not have to stay there. There was something, too, also underexplored, about waiting around all night for the right photograph to be taken and whether a proactive or reactive approach is best in other aspects of life. Some tightening of the plot as well as the production (the scene changes took far too long) is necessary, even if both actors managed to demonstrate considerable commitment to their characters.”
West End Best Friend: “It is clear that David Pearson has potential and let us hope there will continue to be theatres like Hampstead championing new writing like Firewing and enabling theatregoers to discover the playwrights of tomorrow.”
The Spy in the Stalls: “It’s a compelling and finely judged debut, marking Pearson as one to watch. See it before it’s gone.”
To book tickets visit: https://www.hampsteadtheatre.com/whats-on/2026/firewing/