BWW Review: #NOFILTER at Scots Church

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BWW Review: #NOFILTER at Scots ChurchReviewed by Barry Lenny, Friday 15th November 2019.

Velvet Chase Productions have staged the internationally highly acclaimed work, #nofilter, once more. Danielle Candida and Serena Wight presented the work in 2016 and, shortly after, were invited to take it to Festival d'Avignon, where they hope to return in 2020.

I have reviewed this sensational production before but, over time, it has developed and evolved, and now deserved just a brief update. It was presented, on this occasion, as part of the Feast Festival, with only three performances given in this new venue, with a very last-minute change of location due to unforeseen circumstances. Feast is an LGBTIQ+ festival and this particular church is supportive of that community, as well as conducting same-sex marriage ceremonies, so it was an ideal choice. Aesthetically, it is also a very beautiful location and fitted the performance well.

I won't repeat myself as my first review can be read here, but I must acknowledge that this work has become stronger, its message more powerful, and it has gained greater stature. There have been some cast changes over the years, which is inevitable, but the current cast is greatly committed to the work, and it shows. Tightening the performance, and ensuring that it flows ever more smoothly, is a sign of the professionalism behind this phenomenal production.

Dealing with so many aspects of mental health, cleverly brought out through the metaphor of the Black Dog Circus and its performers, as well as the 'shadows' that lurk and coax, and the final message of hope, makes this not only a magnificent piece of theatre, but also an extremely important expose of the subject matter, and means of support to those who need it.

The church organ pipes provided a superb backdrop and the ambiance of the building suited the strength of the performance. The music is enhanced by the addition of a violinist, who played from the choir, and the whole area was put to very good use.

It was no surprise that the performance ended to a standing ovation and to tremendous applause that continued for quite some time.

This production just gets better and better all the time, and it will be back for another performance in the Adelaide Fringe early next year, so be sure to get tickets as soon as you can, before it sells out, again.



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From This Author Barry Lenny