Picture: Claire Shovelton
The Earth Makes No Sound was performed at The Place, London.
Star rating: four stars ★ ★ ★ ★ ✩
While Saturday night traffic screams by, while the air is thick with data, while rush-hour feels never-ending, Filament Theatre offers us a moment to breathe, and to take stock of the natural world we’re standing upon.
An ensemble of 30-plus (comprising the core Filament Theatre Chorus and the Roundhouse Choir) take us on a remarkable expedition through our shifting environment, via a cappella soundscape, song and motion.
Our company enters on the tide, each member caught in its own individual current but the whole cast moves as one. As they travel through the piece, that shared focus translates together into giant sculptures – creatures, landscapes and elements.
Osnat Schmool’s mesmerising score weaves the entire work together. From the ethereal immersion of her opening chants, to the rich texture of her vocal counterpoints and canons, to the soaring anthemic sweeps in the more traditional song-forms of the climactic movement, each progression comes as a new revelation – though it could easily be forgiven for lingering in the midst of each moment, it is as transient and full of change as the planet it illustrates.
Schmool’s close and exquisitely discordant harmonies are, for the most part, sharply maintained by the ensemble – save some minor lapses – with a great control of tonal variety. Sterre Maier, who leads the ensemble with visceral power, commands a breathtaking finale.
As you would expect, the production takes a strong environmental stance – some of the only props involved are in an enormous bag of plastic garbage which sharply punctures a joyful seascape, and rises, deadly, to the surface. The precision of the action here is a joy to watch, if nonetheless a melancholic appeal to our consciences.
It’s refreshing to see a company dedicated to fostering such genuine invention when it comes to physical and vocal exploration, even more so to find such specificity in their endeavours – what sets them apart is the fierce level of discipline demonstrated. There’s no room for generic or vague aesthetic, every impulse is motivated.
However, it does feel like further development might enable an even braver physical presence – at certain times the choreography strains at the leash but doesn’t quite break free, and where the potential throughout the company is apparent, it would be fulfilling to see.
Such productive collaborations don’t come about without a generous directorial hand, and Sabina Netherclift has clearly been successful in cultivating an artistic environment that favours play, but fosters a deep understanding of the craft and its purpose.
This is a fascinating and uniquely devised show which marries entertainment and artistic purpose beautifully, and deserves further evolution.
Aura Simon
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