In a powerful adaptation of Sergey Fetisov’s memoir, Richard Hough’s Firebird brings a touching true story of forbidden love to the stage at the King’s Head Theatre as the venue celebrates its first anniversary in its new home.
Set against the backdrop of late 1970s Soviet-occupied Estonia, this production captures the tension and passion of a clandestine affair between a young soldier and a charismatic fighter pilot.
The play, directed by Owen Lewis, translates the novel, later turned into the acclaimed 2021 film, to the intimate theatre space. Hough’s script deftly navigates the complexities of Cold War-era homophobia and the ever-present threat of discovery, creating a palpable sense of danger that underscores the central romance.
On one hand it’s a love triangle; Lt. Roman Matvejev is in love with, and having an affair with, Sergey, but attempts to cover it up with Luisa. The fact that all three are friends means the stakes are even higher.
It’s a touching story, and one told with a degree of wit, the kind that is easily found in a group of friends. Despite the communist background, there is a sense of freedom in the way the group interact with each other. Even Colonel Kuznetsov softens over time in the presence of these three kindred spirits. Yet, in this ninety-minute production, the story feels unnecessarily rushed, and we miss out on some of the essential backstory that would have cemented our understanding of the characters.
Despite a lack of character development, the cast of Firebird deliver compelling performances that bring depth and nuance to their roles. Robert Eades and Theo Walker shine as the star-crossed lovers, and while their chemistry occasionally wanes, individually, they accurately portray the heartache that comes with navigating the perils of their forbidden relationship. Nigel Hastings and Sorcha Kennedy provide strong support, rounding out the ensemble as Luisa and Colonel Kuznetsov.
Gregor Donnelly’s set design effectively transforms the King’s Head Theatre into various locations on a Soviet Air Force base, with a literal iron curtain ever present in the background. Clancy Flynn’s lighting subtly enhances the mood of each scene, while Jac Cooper’s sound design and original compositions further immerse the audience in the Cold War atmosphere; the Eastern Bloc marches slowly replaced with beautiful melodies that nod to the ballet from which the play takes its title.
Firebird serves as a poignant reminder of the ongoing struggles faced by LGBTQ+ individuals in repressive regimes. The production’s exploration of love in the face of adversity resonates strongly, particularly in light of current global events. It’s certainly an enjoyable piece of theatre, but it does feel as if it’s chosen easy over epic, because this is a story that could have been so much more.
Firebird is at the King’s Head Theatre until 9th February 2025.
