Firebird is a new play based on the the memoirs of Sergey Fetisov who met and fell in love with a young fighter pilot whilst he was undertaking his 2 years conscription to the Russian military during the height of the Cold War. The memoirs have been adapted into a film and now a play by Richard Hough.

The play starts at the cusp of Sergey and Roman Matejev’s physical relationship although it becomes apparent very quickly that their friendship is a close one. Within their friendship circle at the Military base is Sorcha Kennedy, a secretary who has a clear soft spot for Roman although nothing materialises whilst Sergey is there. Fast forward a few years and circumstances have changed for them all, as has their relationships, but what is unclear is how all of them will deal with this.

Whilst the backdrop of the Cold War could bring an interesting angle this was underdeveloped and the story itself is something we have seen before. We are told in broads strokes what happens to homosexuals in USSR but this never feels like the consequences are at Sergey and Roman’s door. Firebird fails to bring anything new to the angle of a forbidden love and frustratingly we are told more about their love than we are given time to understand and invest in ourselves and the audience barely get time to see their relationship develop. Equally Luisa’s relationship with Roman seems scant and we hear more about it through her friendship with Col. Alexei Kuznetsov and their conversations than we see played out in front of us.

The 4 charged with telling the story do so well. Theo Walker as Sergey and Robert Eades as Roman have palpable chemistry that, when given a chance, sizzles. Eade’s Roman strikes the balance brilliantly between charismatic and cocky and when conversation are had about women throwing themselves at him it is easy to believe from Eades charismatic performance. Walker as Sergey is portrayed with curiosity rather than Roman’s unwavering dedication to his homeland, and the pair paint a complimentary but contrasting picture as to how you can perceive the military. Luisa Jannsen as Sorchia Kennedy develops her character nicely, from flirtatious and playful to worn down over the years and Nigel Hastings as Col, Alexei Kuznetsov cuts an admirable authority figure, as believable in delivering miliatary orders as he is providing advice to Sorcha.

The set is kept simple, with a bunker feel to the thrust stage and a sliding door across the back. The lighting design ensures that lengthy scene changes are not needed and the play keeps pace well as a result of this.

Firebird is a play with great promise, the play currently runs at 90 minutes but perhaps with some development into a 2 Act piece the relationships can be explored further as could the time and place setting which would help it move away from another forbidden queer love story to something more unique. Whilst it is unfortunately clear that these stories still have relevance in todays theatre and not just as a historic observance this interpretation, with such interesting context that sits behind it feels under explored and sadly underwhelming.

Firebird is currently playing at the Kings Head Theatre until 9th February 2025. You can find out more and book tickets here.

If you like this review of Firebird you might also like my review of The Curious Case of Benjamin Button, Operation Mincemeat and Witness for the Prosecution.