“Keith, KEITH, it’s just two fellas kissing”
There was a moment towards the end of this performance, as Ferdy Robert’s burly roadie of a Puck launched into his epilogue, that perfectly encapsulates just how brilliant Filter are and also what magical power theatre can weave over even the rowdiest teenagers. Roberts began “if we shadows have offended” and was interrupted by loud, almost nervous, laughter. He looked up, gently but unflinchingly at the young woman and her friend until they quietened down, and then continued, addressing them directly at first and then widening out to the auditorium as a whole, our entire attention rapt.
It’s no mean feat to keep a theatre full of schoolkids hooked in silence (I attended the final preview), especially when the nature of this production of A Midsummer Night’s Dream is so raucous and riotous. It played the Lyric Hammersmith back in 2012 and if it doesn’t have quite the same multiple surprise element as before, it is still highly amusing second time round. Co-directors Sean Holmes and Stef O’Driscoll have condensed the play right down with the company and reconstructed it in their own image, at once deeply respectful of Shakespeare yet also utterly anarchic in the way it is presented here. Continue reading “Review: A Midsummer Night;s Dream, Filter at Lyric Hammersmith”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
“I’m going to do an abstract version”
With the best will in the world, it is hard not to carry opinions with you and this is particularly true in the theatre. In the name of attempting to be open-minded, I have continued to plug away at Ibsen in the hope that one day his work might click with me, but truth be told my heart sinks when productions of his work are mentioned. And despite their sterling reputation and rave reviews, Filter’s work has previously left me a little cold, moving the head rather than the heart, so as I filled in at the last minute for a reviewer who dropped out, there was a little reluctance as I waited for the curtain to rise on their production of A Midsummer Night’s Dream at the Lyric Hammersmith.
Filter are a company whose reinterpretations of classic texts, as well as the creation of new work, burst with creativity and great imagination as they explore the theatrical potential offered by a radical approach to sound. But for me, that hasn’t always been matched with a similiar attention to story-telling – so Silence, Water and Twelfth Night were not my favourite moments in a theatre. Suffice to say though that in this case, whilst purists may baulk at this treatment of A Midsummer Night’s Dream, Filter succeeded in smashing my preconceptions and entertaining me most thoroughly indeed. Continue reading “Review: A Midsummer Night’s Dream – Filter at Lyric Hammersmith”