King’s Head Theatre – 9 February 2025
Reviewed by Claire Roderick
3***
Based on Sergey Fetisov’s memoir and the screenplay by Peeter Rebane and Tom Prior, Richard Hough’s play tells the story of forbidden love in the cold war.
As tensions rise between the USSR and NATO, Pte.Sergey Serebrennikov (Robert Eades) is serving his 2 years military service on a defence post in Estonia. Firm friends with 2nd Lt. Roman Matvejev (Theo Walker), a hot-headed pilot, and secretary Luisa Jannsen (Sorcha Kennedy), the play begins by showing their easy friendship and banter.
A drunken New Year’s Eve changes everything as Sergey and Roman give in to their mutual attraction. Even after warnings from Col. Alexei Kuznetsov (Nigel Hastings) about the punishment for fraternisation between officers and enlisted men, and the threat of 5 year’s hard labour for homosexual acts, the two embark on a passionate affair.
A near-fatal accident gives Kuznetsov an excuse to send Sergey back to Moscow and so he begins a new life studying, not knowing whether he’ll ever see Roman again. But Roman has other plans…
This is a brave attempt to portray this wonderful story, but adding another 30 minutes to the running time would allow some plot points that seem rushed to be fully explored and add more context and meaning to the characters’ choices. There are times when it feels a little too Hallmark. Even so, the cast work brilliantly with what they have been given. Eades and Walker have insane chemistry, heightened by most of their dialogue taking place at a distance, so each glance and touch is sizzling. Eades captures Sergey’s wit and rebellious streak, and Walker’ Roman is always sympathetic as he struggles to balance love and duty. Hastings does well with the underwritten Colonel – hard as nails commanding officer with the men, and jovial father figure to Luisa. It would be interesting to hear the tales behind some of his throwaway lines. Kennedy is wonderful as Luisa – the third wheel in the friendship trying to keep the lads out of trouble, and then full of emotion in the later scenes as she discovers the truth. Her speech about women always clearing up after men play war is worth the ticket price alone.
Owen Lewis uses Gregor Donnelly’s easily adaptable set well, keeping the play dynamic as various locations are set up. Clancy Flynn’s lighting and Jac Cooper’s sound design are atmospheric, with a firework display being a particular highlight.
A beautiful story of LGBTQ+ love under a repressive regime that could be much more than the sometimes-soapy tale. A wonderful cast makes this production one to watch.