★★★★

“a beautifully told love story”

Firebird by Richard Hough tells the story of Sergey Fetisov during the 1970s in occupied Estonia, and how he fell in love with fighter pilot Roman Matvejev. Due to homophobic attitudes in the soviet regime – still present today – they’re ability to keep their love secret is challenging and ends up splitting Roman and Sergey’s life into pieces.

Hough succeeds in adapting the previously made screenplay of the same name of this story into a well crafted and succinct 90 minute stage play. The pacing of the action is good and doesn’t linger on any unnecessary details. Immediately introducing the three central characters via a play boxing fight before a radio recording of the news at the time, established both the key points of the characters’ relationship dynamics, as well as the context of the time period. Despite the play being based on Sergey’s memoir; Roman was framed as the central character – depicting how he was likely central to Sergey’s life. Roman follows Sergey through his life throughout the story, but it is always Roman who leads the way. Robert Eades plays Roman with an incredible sense of optimism wrapped around a straight backed matter-of-fact and blunt approach. This contrasts with Theo Walker’s Sergey, who is often nervous and confused, yet innately curious and controversial. I did find I often struggled to see romantic or sexual chemistry from the pair. The initial kiss felt stiff and out of nowhere due to not seeing any flirting or hints to their attraction previously. In the end, however, their love is believable and creates some wonderfully touching moments.

Another key component in Roman’s wild affairs is Luisa Jannsen, played by Sorcha Kennedy. Kennedy is incredibly engaging in her performance, I was often drawn closely to her eyes and found a whole world of truth and emotion deep within them. Nigel Hastings also stands out as Colonel Alexei Kuznestov, with excellent focus, poignant intention and a flare with the rhythm of the text. All are complemented by Owen Lewis’ direction which manages to make an intimate staging feel massive with an incredible use of space, that manages to glide through different locations and times with ease. Clancy Flynn’s lighting design must also be praised at this point, often fading between warm or cool tones to indicate different locations based on their atmospheric tone. There was also one sequence where various colourful lights were used to portray fireworks, which then quickly transitioned to an explosion. A subtle yet effective portrayal of the events moving forward. The same can be said of Gregor Donnelly’s design, with the use of a simple set that leaves the stage pretty much bare asides a few pieces of furniture: two stage-like wooden blocks, a few chairs, a desk. All of which are transported throughout the piece as and when needed, achieving the same goal of making the intimate staging feel larger than it is.

Overall, Firebird is a beautifully told love story that shows how happiness can be found in human connection in spite of all the challenges put against it.

MACBETH

In Cinemas

★★★★

“For Tennant’s performance alone, it is worth seeing this production”

After a critically acclaimed run at the Donmar Warehouse, Max Webster’s Macbeth is being brought to the screen. Filmed theatre is a tricky beast, on the one hand it provides accessibility and longevity, on the other it often struggles to capture the pin-drop intensity of being in the room. This film manages, mostly, to capture the magic. It’s a different experience but it’s still a sublime production.

Webster’s thoroughly modern and psychologically fraught show, pares back the theatricality and leaves us with a claustrophobic tale of untamed ambition and hubris.

We open on a close shot of a bowl of water. Blood drips into it, droplet by droplet. David Tennant as Macbeth, sits, wringing the blood from a cloth. The tight shot of his face allows us to see every ripple of anguish. For his performance, the film is worth it. He is tortured and conniving, witty and sensual, mad and ashamed. It is the kind of performance that defines a character. It’ll be referred to in textbooks of the future.

The design is sparse and monochromic. A bright white stage (designed by Rosanna Vize), actors in black (save Lady Macbeth in white) and a dark glass backdrop. Through this we see the larger cast, multi-roling into a chorus, who commentate and berate from the other side. The glass is interesting, it allows some chilling moments (a running child covered in blood, tree branches tickling the glass) but the brightness of the white stage is more effective. The film includes aerial shots, allowing us to see people lying on the stage, dancing on the stage, dying on the stage. This is a bonus of the film; it gives you a chance to view the piece from every angle.

In the stage play Webster had audience members wear headphones, with actors whispering in their ears to create a near immersive surround sound. This works in a cinema, and does make the audience feel more immersed, though it lacks the innovative punch of the original concept.

While it’s really Tennant’s show, the rest of the cast are very strong. Cush Jumbo as Lady Macbeth is a loving version, coming alive in her frustration and embarrassment at her husband’s unravelling. Their connection, and chemistry, gives a sexy heartbeat to the relationship. Jatinder Singh Randhawa as the Porter is hilarious, ad-libbing away and playing on the audience’s headphone wearing. Rona Morison as Lady Macduff is subtle and tragic. Noof Ousellam’s Macduff brings tears to the eyes in his quiet grief, definitely making him an actor to look out for.

The more theatrical moments don’t translate so well to screen, the visit from the witches fails to stir the necessary fearfulness. The show chooses the psychological over the magical, which works, but means when it strays into prophecy it feels incongruous. Similarly, what gets noticed on screen is less forgiving. The costumes leave a little to be desired, for instance everyone is in patent leather Chelsea boots. Interestingly that’s something that would be easily ignored on stage, but is glaring on screen.

This has not entirely converted me to the wonders of filmed theatre, but it has definitely softened me towards it. While it is undoubtably not as good as being there, it is a close second. For Tennant’s performance alone, it is worth seeing this production.

FIREBIRD

King’s Head Theatre

★★★★

“a beautifully told love story”

FIREBIRD

King’s Head Theatre

Reviewed on 21st January 2025

by David Robinson

Photography by Geraint Lewis

Previously reviewed at this venue:

FIREBIRD

FIREBIRD

FIREBIRD

MACBETH

In Cinemas

★★★★

“For Tennant’s performance alone, it is worth seeing this production”

MACBETH

In Cinemas from 5th February

Reviewed on 20th January 2025

by Auriol Reddaway

Photography by Marc Brenner

Previously reviewed at the Donmar Warehouse:

MACBETH

MACBETH

MACBETH