A whimsical yet moving portrait of a life away from home.
In the bustling auditorium of Jacksons Lane theatre in Highgate, amidst the gentle hubbub of the waiting audience, Tom Gaskin stepped casually to the front of the seats and began to very slowly ‘post’ a letter through a mail slot held up by a willing audience member. The audience quietened as if a switch had flipped; even before he took the stage, Gaskin had captured the attention of the room. In Filibuster, a new work by the circus company Kook Ensemble, Gaskin stars as Bertie, who flees to an isolated cottage to escape a rapidly-encroaching war.
The set seems simple as the show begins, with white fabric thrown over a few indistinct shapes, and a scattered paper design marking a plain black background. However, it quickly becomes clear that there is more than meets the eye here, as the set itself reveals an impressive array of secrets. The bulk of the action takes place in Bertie’s cottage, which is filled with suitcases; these are a convenient way to store the show’s various props, but they also paint a picture of a displaced life lived out of bags and cases. As well-off as Bertie seems in his cottage hideaway, he is still fleeing a war which has driven him away from his home and into this retreat. Gaskin’s performance is underscored by the show’s playful and absorbing sound design. As the show begins, insistent strings are overlaid with the sounds of trains, boats, and cars to bring Bertie on his long journey to the cottage. As he experiences the highs and lows of isolation, from dancing exuberantly as he cleans the cottage to dejectedly listening to the ticking clock, the music helps change the tone on a dime.
As Bertie tries to settle into this new and uncertain home, he toys with the idea of dating, and comes to terms with a (creatively puppeted) butler who can be, in Bertie’s opinion, overly familiar. Several of these scenes bring audience members onstage to fill in for various supporting characters, and these interactions lead to some of the show’s most delightfully playful moments. Gaskin also shows off some truly impressive juggling skills in the show’s lighter scenes, engaging the audience with an almost cabaret-like flair. The heart of the piece, however, lies in Gaskin’s full physical commitment to storytelling. This show was designed as an homage to iconic silent movie stars such as Buster Keaton and Charlie Chaplin, and Gaskin brings a fresh and modern energy to this style while still evoking the classic aesthetic of the twenties. He embodies each emotion right to the tips of his fingers and toes, creating visually captivating physical theatre. As foolish and flawed as Bertie can be, audiences will still be rooting for him as they’re swept up in this whimsical adventure.
Filibuster’s current UK tour will end with a performance in Sheffield on 9 November.