"Firebird": A Fiery Flight Through Russian Folklore
Review of Firebird at Pacific Northwest Ballet
Written by TeenTix Newsroom Writer NIKA RODIONOV
Edited by Teen Editorial Staff Member THIEN-NHI NGUYEN
Firebird, an ode to Russian folklore, showcases iconic Slavic characters and the passion of its creators. The ballet originated in the early 1900s as a vision by impresario Sergei Diaghilev, a shrewd producer who brought together leading artists to stage works celebrating Russian culture. It was intended to showcase Russian folklore and music and highlight its unique design and character. This is obvious through the show's set design and music. The backdrop draws from classic Slavic illustrations and archival art, while the score by Igor Stravinsky features folk-inspired melodies and rhythms that heighten the ballet’s emotional arc. Vivid costumes animate the stage, most notably the Firebird’s fiery red plumage, inspired by Léon Bakst’s original designs. These visual elements often communicate more than the narrative itself, and together with the dancers’ portrayals, transform Firebird into a living piece of transported culture.
The ballet consists of four scenes and lasts a mere 30 minutes. Adapted as a slightly more modern interpretation of the 1910 dance, it first acquaints us with our protagonists, Prince Ivan and the Firebird, when the sparkling rhinestone curtain of McCaw Hall's stage lifts. In true folk-story fashion the prince is depicted as a vague figure who is the son of a ruler from a distant unknown kingdom. Firebird, a fierce character danced by Sarah-Gabrielle Ryan, is adorned in red and gold as she fluttered across the stage with precise skittish movements. The plot functioned more as a framework than a focal point: Ivan falls in love with a princess, she is captured by an evil sorcerer, and he ultimately rescues her with the Firebird’s help. This outline is meant to be representative of an average folktale.
The first two scenes establish the relationships between the characters in the story, as Prince Ivan sets forth the story with a hunting scene in a dismal enchanted forest. When our mystical phoenix swoops onto the stage for the first time, she takes control with a fluttering demeanor. As expected, Prince Ivan attempts to trap the Firebird, letting her go only after she silently pleads for grace. A sparkling red feather is left in his hand, leaving the audience to observe that the Prince acts in exchange rather than compassion. Thereafter, we are introduced to our 13 princesses, among them the female love interest. Curious music plays in the background and Ivan seems meant to fall in love, yet this arc feels rushed and disconnected.
The second half of the story is more theatrical, as we are introduced to the antagonist, a nefarious wizard, named Koschei the Undying, who casts the enchanted garden under his spell. This part serves as the highlight of the spectacle, as the background transforms into a storybook-inspired display of Koschei the Undying, satisfying the desire for grandeur and visual appeal where the plot lacks.
Ultimately, despite the ballet’s striking appearance and emotional score, it is difficult to follow the story. As the finale nears, an egg suddenly falls from the sky. Ivan smashes the egg and the curtain drops, and a wedding scene between the prince and princess begins. Without any context this ending feels random, and in the audience, I could only question this conclusion. This was an incongruous way to leave the ballet, as in the original story this egg signifies the death of Koschei; however here it is an unexplained affair. This ending felt humorous in comparison to what it was supposed to be, but that doesn’t mean that this dance as a whole wasn’t worthwhile.
I can’t say that this ballet was everything I was expecting to see. It was an exciting spectacle, beautiful to watch, and inspiring to witness the work of so many artists on display in front of me. The Firebird is a captivating character and truly brought fiction to life. The progression of the story struggled to capture the intensity of character that the performance deserved, yet this doesn’t take away from these things. Despite its shortcomings portraying the magic of the narrative of Firebird, the ballet remains a testament to the beauty of Russian traditional music and visual art.
Lead photo: Pacific Northwest Ballet principal dancer Sarah-Gabrielle Ryan in the title role of Kent Stowell’s Firebird. PNB presents Firebird on a triple-bill with works by Ulysses Dove and Alejandro Cerrudo, onstage at Seattle Center’s McCaw Hall March 13 – 22, 2026. For tickets and info, contact the PNB Box Office, 206.441.2424 or PNB.org. Photo © Angela Sterling.
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