Firebird – Southwark Playhouse Borough, London

Writer: Phil Davies

Director: Marlie Haco

Tia’s never had anyone to look out for her or have her back. Stuck in care from the age of three, her foster mum doesn’t bother with her anymore, and her friends are non-existent. She’s understandably lonely and angry at the world, so when the charismatic AJ takes an interest in her, it’s hard for her not to fall for his charms.

Tia’s (Mollie Milne) hardened outlook on life is further embedded when it turns out AJ (Taqi Nazeer) isn’t an empathetic youth worker, interested in giving her a better life after all. He, along with his friends who own the local kebab shop, secretly runs a child prostitution ring – and Tia is sadly the next victim in their sights. Despite numerous escape attempts and officially reporting them to the police, she’s treated as a criminal rather than a victim in this heartbreakingly recognisable tale of grooming gangs and child exploitation.

Despite being written over 10 years ago, the material is disturbingly and disappointingly still relevant. Tia’s troubled upbringing isn’t touched on too much, though it’s clearly outlined from the beginning, and Milne’s depiction of the forgotten about teenager is expertly done. The majority of the storyline focuses on how she becomes ensnared in AJ’s circle and her attempts to break away from it. Also showcased is her new friendship with Katie (Kelise Gordon-Harrison), which helps to not only shape Tia’s character even further, but also provides a beacon of hope and a touching connection, in what is otherwise a gritty, intense, emotionally impactful production.

Marlie Haco’s direction and Ben Jacobs’ lighting design ensure that each scene is powerful and completely gripping, using frequent swift blackouts, which heighten the tension and suspense remarkably well. Tomás Palmer’s set design is seemingly simple from the outside – solely a large square base, but it is used constantly to reshape the landscape on stage. Hidden enclaves on the floor allow the cast to move around quickly and subtly during blackouts, ensuring that scene changes are effective and time-efficient. The levered-ceiling is raised and dropped constantly, whether it’s to evoke the feeling of claustrophobia while Tia is trapped in an attic room, or to showcase the confined space during a police interrogation, it’s brilliantly done, and really helps to lock in the audience on the action throughout.

Performing the thought-provoking, strongly written script are three wonderfully talented actors. Nazeer showcases the subtle shift in charming and conniving with conviction, enticing the audience into trusting him just as much as Tia does, with his initial friendly approach, easily switching into being nasty and aggressive once his mask slips.

Milne depicts the emotional weight of her character’s past with skill and strength, allowing both her hardened exterior and inner vulnerability to shine through within her scenes. Despite having smaller roles as both Katie and the social worker, Gordon-Harrison stands out for her endearing portrayal of childlike naivety. She thankfully hasn’t lived a similar life to Tia, so her view of the world is one of joy and innocence that brings a touching, emotional tenderness to her interactions with Tia, which is needed alongside the otherwise harsh, unforgiving narrative. An intense, but worthwhile production.

Runs until 1 August 2026