WTM's Summer of Circus finishes off with Kook Ensemble's 'Filibuster'

Filibuster is inspired by the silent movie comedy giants like Charlie Chaplin and Buster Keaton. Acclaimed gentleman juggler, Tom Gaskin and storytelling circus director, Sean Kempton bring to life a playful and sometimes downright absurd world of loneliness, hope and love.

How are you feeling about your upcoming show in Worthing?

SK: We are very excited to finally be able to bring our work to Worthing Theatres. We have been in conversation about various projects over many years and the Worthing team have been so generous. We are happy to pay them back with a cracking show. This is also our first production for Kook Ensemble, and I think Filibuster will fit perfectly into the burgeoning circus program that Worthing offers.

TG: There is a lot of anticipation for me. It's certainly been a passion project and the thought of reinvigorating the show for a real release is so exciting. It feels amazing to be prepping to release a story that’s been inside my head for so long.

What can audiences expect from Filibuster - without giving too much away?

SK: All our shows are playful with strong images and a lot of heart. Both Tom and I are very experienced clowns so play is in our very nature. Even when we don’t want it to, the joy and fun comes out. In addition to being a great performer Tom is a highly skilled circus artist, specialising in gentlemen juggling. You’ll get a playful and skilled circus show that’s wrapped up in a tight story to send you out smiling.

TG: It's a fun show that, I hope, everyone will be able to relate to on some level. I would say that, on the surface, it's a simple and funny portal into one person's head. But by looking in you will get to glimpse more candid moments of expression, which people might recognise from their own lived experience.

What inspired you to tell this story?

TG: I think that without being too reductive, it really sums up a big part of my life. The emotions of growing up and becoming an adult/ formative years. It spells out how I felt at that time, and how these feelings can linger. They still affect my decision making to this day.

The show takes inspiration from silent-era comedy greats like Chaplin and Keaton. Tell us about the relationship between circus arts and silent era film.

SK: There would be very few clowns who haven’t, at some point, referenced the early onscreen greats. Before they hit the screen [performers like Chaplin & Keaton] worked in music hall and variety. Which was a world steeped in acrobatics, tight rapid playful numbers, and work with clear signatures. Buster Keaton’s work was so intricately laid out and physically adept. The amount of detail we go through to design and develop a circus act? He would have tripled that effort. We really like the idea that the world itself was Keaton’s adversary. Giants like them are a great reference of the perfect combination of acrobatics, story and character woven together.

TG: For me, it's all about visual storytelling. The main similarity between the two is how the human body battles with the physical world that it inhabits. Sometimes overcoming it, and sometimes falling foul of it. The human establishes a premise for the audience, then plays out that game candidly for the audience. The shared journey to success or failure is, hopefully, where the humanity on display can draw any questions for the viewer. They are also both very cool…

What have you enjoyed most in developing this show? And what challenges did you face along the way?

SK: The rehearsal process has stretched over a few years. Tom invited me to work on the project and we began to develop it in Great Yarmouth, where he’s from. Rehearsals have always been full of laughter and both of us have a constant flood of ideas. This “yes and what if” culture allowed us to build work very quickly. We just had to edit the ideas down. We then had about a four-year hiatus, which - on reflection - has matured the work. Now we are lucky enough to work with amazing designers and sound engineers who have managed to elevate the show ready to run and run. Challenges included running out of funding and losing our initial producer, which stopped the show development. Happy moments include developing the play in the room, our new creative team and our shiny new producer.

How do you prepare for performances?

SK: I am currently preparing the show to go into rehearsals so it’s a little early at this stage to tell. Every show has its own rituals. I suspect once the set build is done we will stick on some loud music and bounce around, (probably with Tom’s headphones on as I doubt he will like my music). The aim is to make the audience feel held as soon as they walk into the room. And ensure the performer is as relaxed as possible.

TG: Good sleep is a big one. Eating well. Lots of boring answers. However, such a large part of any performance must come from a mental standpoint. Belief in myself always stems from a feeling of preparedness. If I’ve got myself feeling good in all the ways that I can, then the story of the show tells itself, I just need to string the moments together.

What advice do you have for someone starting a career in the circus arts?

SK: See lots of things and see what excites you. I don’t mean just circus shows but theatre, dance and art. Read books, watch Netflix…there are so many interesting things about creativity out there. Of course, training and skill development are a big part of what we do. But you have to know who you are, what you like, who your influences are. Otherwise it will be just skills acquisition. It’s what you do with your knowledge and skills that sets you apart. Ask yourself who you want to work with and where. Circus is such a large ecosystem now with so many different styles and opportunities. The UK has examples of excellence in each of these sub circus genres. So get out and play, play, play

TG: Honestly, it would be that you need to love what you are practising. There will be many times when things seem insurmountable and far too difficult. Keep the enjoyment there, and keep a positive attitude. Don’t be too hard on yourself then results will show, providing that you put the work in. Just 1% a day is all it takes.

Do you have a favourite circus performer, or group whose work you admire most?

SK: I have a lot of favourite circus performers. Often it is not so much companies and more to do with shows that I have seen. The dedication it takes to be the best in your industry has always amazed me. Performers who go further and deeper, but still manage to come out smiling and generous are the best people on the planet. If I was to choose moments of shows it would be early Peeping Tom, Seven Streams of the River Ota by Robert Lepage, Robert Wilson’s Black Rider. And these are all ensemble theatre as opposed to circus. Perhaps the bonkers nature of Race Horse Company.

TG: Kris Kremo - Amazing Juggler.

Summarise the show in 3 words

SK: Hilarious, touching and beautiful

TG: Made With Love

What do you hope audiences will take away from this show

SK: We would want the audience to walk out feeling elated, crackling with energy and still peeling back the layers of the show. Oh - and knowing that they want to come and see Sand, our next show.

TG: That everything can seem like it's all going wrong, but please try and keep smiling through. We can all keep moving, there will be someone to make it all worthwhile.

Filibuster plays at the Pavilion Theatre for one night only, Saturday, September 21. Be sure to book your tickets for a night of laughter and surprises with Kook Ensemble.