Filibuster, Tom Gaskin and Kook Ensemble Review

Photo by Roy Riley

Reviewed by Jasmine for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review

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Filibuster by Tom Gaskin and Kook Ensemble is equal parts playful and moving as it switches between joy and fear at breakneck speeds. There is so much good to say for this show; it has a lot going for it - impressive circus skills, a great soundtrack/soundscape, and some brilliant clowning.  

Filibuster is able to take you from the fear of impending war or sadness of frustrated love to being in stitches with laughter in seconds, and that is the fun of the piece - it never fails to surprise you.  Even the set is an endless series of unexpectedly appearing objects and images through the excellent set which switches effortlessly from visually striking surreal moments to feeling like a desolate cottage in the woods.  

Tom Gaskin’s performance is impossible to tear your eyes away from, and he is able to get the audience so on side that they are more than happy to participate (extensively) in the show. The way the audience makes the show what it is each night makes up half the fun, and that would be impossible if Gaskin’s performance was not so responsive to the unexpected actions of the people he enlists to join the show.  

A lot of the switches in mood or the comic moments are backed by a soundtrack encompassing well known hits as well as a soundscape which immerses you in the world of Bertie, the 1910s  gentleman fleeing a war-torn world. This is also a hugely affecting context to place the show in, as you are constantly hit by the horror of asking a young man to leave the safety of his home and the possibilities of his life behind, possibly to never return. It creates a current of fear beneath all of the joy and playfulness of Bertie’s day to day moments, lonely and bored and miles away from society.  

This show is escapism portrayed with all of its imagination and terror. It is built around how tightly we will cling to any semblance of normality in extreme circumstances, as shown through the relationship between Bertie and his puppet butler. You won’t believe how invested you can get in a headless suit on a chair.  

As with a lot of shows that rely heavily on mime, there are moments where things aren’t totally clear,  but getting drawn slowly into the plot is part of the joy of watching this piece, following along as you understand Bertie’s life better and better.  

They’re off to Sheffield next, so if you’re up there get yourself along to see it, and I hope to see  Filibuster back in London soon.

☆ ☆ ☆ ☆ ☆