Firebird, which is based on the 1993 memoir "The Story Of Roman" and 2021 movie "Firebird", reveals the real life story of Lieutenant Roman Matvejev, a fighter pilot as he navigates a secret passionate love affair with his comrade private Sergey Serebrennikov, during the Cold War. Written by Richard Hough and directed by Owen Lewis, Firebird becomes a blazing triumph of a short play, treating its source material with tenderness.
Firebird follows Roman Matvejev (Robert Eades) and Sergey Serebrennikov (Theo Walker) as they discover their attraction for one another on New Year's Eve of 1978. As the world around them explodes into a state of desperation, death and devastation, Roman and Sergey slowly develop a secret relationship that further threatens their own safety. Mutual friend and headquarters secretary Luisa Jannsen (Sorcha Kennedy) and Colonel Alexei Kuznetsov (Nigel Hastings) both prove as obstacles in their own right, as the secret is thrust into the spotlight, resulting in a thrillingly tragic turn of events. Years later, a happy reunion brings Sergey and Roman together, although all is still not quite as happy and straightforward as it seems for the couple.
The play achieves a sense of tension throughout, by carefully placing each character at odds with one another with little to win and everything to lose. Set to the backdrop of the events of war, with the characters on the front lines, the inevitable consequences hang over the characters, providing a darker overtone to the already tragic story. Presented as star crossed lovers, Roman and Sergey are a sweet couple that the audiences will adore and root for. The sensitive, artistic and emotional Sergey brings out a softer side from the duty-bound, charismatic and proactive Roman, creating a warmth and safe space to exist together. Whilst their relationship is tested time and time again, the strength of their bond and love holds the play together, and presents itself in several scenes of pure adoration and mirth.
The performances from the four cast members are each incredible, and truly make this play such a compelling and irresistibly moving piece. Hastings portrays a well rounded character, with the sharp and tough exterior that is later revealed to be a soft and nurturing friend. The duality of the character is well balanced with the steadfast sensible nature and unshakeable strength. Although there were hints of a hidden vulnerability, the play doesn't quite unpack the character as much as it could, yet Hastings leans into these smaller hints and creates his own waves with them. Kennedy renders a soft but powerful performance. Weaving in her own grievances as a woman in a man's world, which culminates in a background slow fall of the character's cheerful personality, especially when tragedy strikes.
Eades does a fantastic job bringing a playful energy to his every step. Eades convincingly portrays the growing tension, confusion and fear that wears the character down. If Eades is the play's flame, then Walker is the spark. Walker is sensational, stealing the show from the very first scene. He is utterly captivating, with his eyes particularly expressive, and his subtle shifts from hopeful and happy to quietly heartbroken and betrayed is a masterclass performance.
The set (Gregor Donnelly) is deceptively simple, with two door frames and a sliding door that helps differentiate various locations on the same intimate space. Overhead lights, a lamp and chandelier, along with photo frames, help distinguish varying scenes. Relatively simple, Donnelly's design creates both a sense of warmth and cold in the set. Jac Cooper, the sound designer and composer, helps carry the play through scene transitions, adding to the play in it's own whimsical way. Lighting designer Clancy Flynn is to be commended for this play; using sharp spotlight switches to create a sense of depth and focus on plotlines. Yet it's the firework moment towards the play's finale that deserves it's own shoutout. Creating what felt like an authentic firework show, that washes over the audience in an explosive way, that ultimately becomes one of the show's most important scenes, especially with Walker's performance. A truly magical moment that felt much larger and quite limitless in the intimate theatre space.
Firebird, whilst not without its clichés at times, makes for a smart and unique piece of theatre, putting its own personal spin on a story that will leave audiences shaken yet comforted. Still as sadly prudent, the themes of the play, strike a cord and remain in one's mind for a long time.
Firebird is currently playing at the Kings Head Theatre until the 9th of February
★★★★★ (5*)
Gifted tickets in return for an honest review | Photography by Geraint Lewis
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