A play by Richard Hough, based on the memoir by Sergey Fetisov and the screenplay by Peeter Rebane and Tom Prior. Sadly, between all these writers, they missed developing the drama for a stage production. Directed by Owen Lewis, the play tells an interesting but not unique story without the tension or excitement to make us care what happens.
Drawing on a true-life Cold War story, FIREBIRD follows a handsome, soulful young soldier who embarks on a clandestine affair with a charismatic fighter pilot on an Air Force Base in Soviet-occupied Estonia at the height of 1970s Communist rule.
The weakness is in the script. Instead of having conversations, they seemed to be aiming statements at each other. Apart from being very handsome, there is not enough to suggest why Roman was so irresistible. Robert Eades plays him well, with a convincing swagger but he remains a mystery. There is not enough emotional interaction to make me care about any of the characters. At 90 mins without an interval, it is too short. There is so much story to cover that there is no time to set the foundations of character.
Whilst radio voiceovers give historical context, there is not enough personal background to make me believe in the relationships. Comrade this, comrade that – I get the USSR context, it doesn’t need to be hammered home. Maybe the desire to be authentic compromised the chance to be intimate and unfold a love story.
The opening boxing sparring misses an opportunity to have the men set up sexual tension in a clinch. The sexuality is too understated to fulfil the story. Theo Walker as Sergey, is constantly denying the attraction - forbidden it may be, but we need to see more temptation. He is charming and vulnerable. His reaction to his first taste of an orange is delightful.
Nigel Hastings presents a credible cold-fish senior officer, but I wondered why he would be so invested in the others. He mentioned a lost wife and attachments in his youth which gave him background, but not enough to justify why he should take such interest in the three youngsters.
Sorcha Kennedy as Luisa works convincingly as the person linking them all, and her revelations provide key developments. Sometimes, her character seems more plot device than individual. I would have liked to see more of her implied cleverness and a chance for her to reveal more emotion.
The grey set is well used to give many locations with a simple sliding door to cover or open doorways and the cast economically rearrange the furniture to change scene. Effective lighting confirms the locations, and brings to life the fireworks which, with the sound effects, gives a prelude to the war in Afghanistan.
This is more efficient storytelling than engaging drama. It is a high-quality production and well performed but it lacks heart. The characters agree to share their memories at the end – I wished that had happened in the main play.
Derek Benfield