Ian Toner of Glass Mask Theatre talks to us about A Slow Fire, currently at Jermyn Street Theatre. The play transfers from Ireland
How did you get the role in Dublin, and have you acted in a Simon Stephens play before
I had worked in Glass Mask as both an actor and director on a couple of occasions. I also went to drama school with Rex (Ryan, director of A Small Fire) so there was a history and shorthand there. I did Punk Rock, which is an awesome play, in the Lyric Belfast back in 2014. It’s one of those rare productions where people will still occasionally mention to me how much they loved it more than a decade later. There were a lot of factors in that, a lot of elements came together for that production; the right director, a new AD and direction in the Lyric, a really exciting young cast. But a big part of it was the strength of that script, and how visceral and immediate the audience found it at that time.
Stephens was one of the in-yer-face playwrights. Is A Slow Fire an in-yer-face play?
I’d say Simon is more the generation after Sarah Kane and Ravenhill and those guys. I think his work is definitely influenced by them. His plays are at times uncomfortable, shocking, and there’s an exploration of the darker side of humanity in common with the in-yer-face movement. But while the in-yer-face stuff was shocking and political, I’d say Simon’s work is shocking and personal, driven by really brilliantly deep and realised characters.
Stephens is known for attending his plays. Was Stephens involved at rehearsals? And did this put more pressure on you and the cast?
Yes, he was in Dublin for the start of rehearsals. It put pressure on us only in that we are all fans of his. But he’s very generous and not at all precious with his work. I think he really enjoys actors and letting them interpret his work as they see fit. And he wasn’t at all prescriptive. We’d ask him questions about the backstory, and he’d tell us he didn’t know, and we’d have to fill in the gaps ourselves. Which we did, and that was ultimately helpful. I still don’t know if he was lying.
Stephens is a big name. Why do you think his latest is being presented at smaller venues?
I can’t speak for him, but from what I gather, he loves this. He loves Glass Mask and was delighted, as we all were, about the proposition of transferring to an, in some ways, similar space in Jermyn Street. The intimacy of the venues puts the audience experience at the forefront. You’re right there with the actors. Simon is one of the most prominent playwrights in the world, and this is not a lesser script; it’s him at his best. There’s 70 people in a night to see this incredibly high-energy, playful, dark, funny piece that is really alive. It’s awesome.
What next for you after A Slow Fire?
Ideally a holiday. I love this show, but I wake up feeling like I’ve run a half marathon every day. I’m in an Amazon series called Bloodaxe that’s out some time early next year. And then continuing to be a working actor and writer and not knowing what I’m doing more than three months in advance. I wouldn’t have it any other way.
A Slow Fire runs at Jermyn Street Theatre until 26 September 2026. Tickets here
