This piece is the love child of a ted talk, stand up comedy, a political rally, and a late night beer-in-hand chat with your mates. Chris creates such a giving, open and honest space at the intimate Jerwood Theatre Upstairs in which every audience member feels connected to. His charm, wit and intensity draw you through a gripping 90 mins in which he discusses all aspects of nuclear weapons and how the topic manifests itself in everyday life.

Upon entrance Chris makes you feel welcome by striking up conversation with most if not all audience members. With a simple rug, laptop, kettle, projector and keyboard on stage, you do feel you’re entering somebody’s home. A live feed from the computer is projected displaying an open Spotify, in which audience members are encouraged to pick a song they would play in the morning at home. This not only makes everyone feel comfortable, it also creates such a diverse energy in the room as the songs range from genre to genre. This becomes even more interesting when, once Chris’ chats with the audience are done and he most likely knows the names for 90% of the room, he begins with a weighted monologue about nuclear weapons with the most recent song offering as the soundtrack. This creates such a unique energy night to night as the song will always differ and is a genius and touching way of not only letting the audience impact the piece but also create a piece of work that exists only on that night and can never be repeated. Chris shows genuine care and connection in his delivery. It is a true masterclass in how to get the attention of every eye, ear and heart in the room.

As the play evolves he transitions through wildly contrasting segments like a heavily anticipated song that he foreshadows comically throughout likening the looming threat of nuclear war to the same threat of “he might just sing us a f*cking song”. This is interwoven with lots of audience participation in which he creates a collective space with input from all audience members for us all to exist together in only for that night. He is a master of engaging every soul in the room, I have never felt so willing to partake in an audience interaction as I have in Talking About The Fire.

The beautiful, informative storytelling meanders through anecdotes, statistics, power point presentations and culminates with a live zoom with a character earlier introduced, who is a senior official in the organisation of a group leading the force for countries to give up their nuclear weapons. The audience are invited to talk with and ask questions to them, which is not only an amazing opportunity, but also adds an immense gravitas to the entire piece as it is the first time this topic is taken outside the delicacy of the space we’re in and becomes a real world issue.

Thorpe with help of director Claire O’Reilly and designer Eleanor Field have created a masterpiece of human connection. Rachel Chavkin and Staatstheater Mainz’ script along with Thorpe’s impeccable timing and ad-libs create such an honesty that cuts deep and allows the audience to be comfortably vulnerable.

Overall this piece leaves you feeling heard, touched and awoken. The environment created is so playful allowing the weight of the topic to be felt and understood much deeper. A truly meaningful, memorable and masterful piece.

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