In 1990 Alan Read was invited to contribute to a panel at the Association of Theatre in Higher Education annual conference at the Palmer House Hotel Chicago. Convened by Professor Joseph Roach the panel was dedicated to exploring historical materialism and method. Despite having only previously had experience editing the publication Theatre Papers (a practitioner focused journal with no claim to historical rigour, but nevertheless great rigour) and the decade long direction of the neighbourhood theatre Rotherhithe Theatre Workshop in the Docklands area of South East London (which was all about survival in the everyday here and now), Read accepted the invitation to discover whether the pressured circumstances would prompt a creative and critically adequate, if not historically appropriate, response. The talk began with Read holding up two boxes of matches and asking the assembled to consider the theatre as operating between two extremes of a ‘safe’ and an ‘unsafe’ realm, a spectrum of risk across which all performance is negotiated. To mark the 100th issue of Performance Research, Read in this essay responds to that talk in real time, returning to the site of the original presentation and, as the title suggests, sets about ‘Footnoting Fire’. In this he reflects again upon Michel de Certeau’s formative work in The Writing Of History in which the process of historiography begins with a rupture or a break inaugurated ‘back then’, as distinct to now, and often by a death or deaths that cannot adequately be accounted for in the scriptural folds of the historian’s labour. In the years since the original outing for this material there have been some significant changes that Read has to account for in this newly written return: he can no longer hold the match-boxes as still as he once could, he no longer has such confidence in the securities of something once called ‘Nature’, he has the subsequent edition of Performance Research ‘On Fire’ in front of him, he is involved in the Capital Board Advisory Group helping to rebuild Battersea Arts Centre after its devastating fire three years ago, and close to his local West London neighbourhood the stevedores are covering up Grenfell Tower with a white shroud.