The company Filter always show us how a
production is put together: bare stage, sound/vision makers or mixers
visible to the audience, sometimes even borrowing costumes from us. It
is not unlike Katie Mitchell’s “live movie” sage ventures; however,
Mitchell usually seems so focused on the process of construction and
the artificiality of the resulting construct that its more intangible
power leaches away, whereas Filter remain concerned with communicating
with us intellectually and emotionally. They do not always arrive at
their intended destination, but even this kind of journey has more to
fascinate us than, as it were, staying fixated on the means of
transportation.
This piece (devised in
tandem with director David Farr under the aegis of the RSC) is
decidedly one of their more successful outings. I think the key for a
viewer is to approach it as a narrative montage, corresponding with the
aural montage which is in one way its subject. The 90-minute piece
seems to deal more with the absence of silence: with sound from the
tinnitus which chronically afflicts Kate (and which we, of course, hear
at times too) to a mix tape, a covert interview, even the simple sound
of a lie. It is when the sound lets up that silence too becomes
significant: that which is unspoken or unheard. Kate searches in Russia
for an old flame from 20 years ago who has been psychologically
crippled by military service, while back in London her husband Michael
makes a documentary film about a covert-action squad in the
Metropolitan Police around the same time. (This chronology goes a
little adrift: the Greater London Council could hardly have fomented
anti-poll tax riots that took place four years after its disbandment.)
As
Michael’s sound man records the noises made by his neighbour, one is
reminded of Francis Ford Coppola’s wonderful early film
The Conversation;
a more oblique allusion is made in naming a Russian businessman after
the collective pseudonym of a French school of mathematicians. Such
resonances (ah, a sound metaphor again) are part of the way in which we
are active collaborators in the theatrical experience. A clutch of the
RSC’s finest recent actors – Jonjo O’Neill, Richard Katz, Katy
Stephens, Mariah Gale, Christine Entwisle – join Filter supremos Oliver
Dimsdale and Ferdy Roberts onstage, whilst the company’s co-founder Tim
Phillips oversees the tapestries of sound and music which are the
musculature of the piece.
Written for the Financial
Times.