Lamesha Ruddock
“Our message is political justice and radical equality … clap.”
Flitsmeister is a hallucinogenic kaleidoscope of youthful defiance. Directed by Leah Eliaan, this politically unflinching production dives headfirst into the existential dread of being 18 and the sign of the times.
Whilst Filtsmeister is a popular community driven app giving drivers a heads up, in the production, Anastasia Malnieva as the accused must deal with coming of age whilst being seriously cancelled. Commentary on the growing right wing movement in Europe and fascism with a friendly face, this is theatre as rebellion, filled with so much energy. Flitsmeister challenges the liberal bubbles we claim we’ve built.
As you enter the space you are drawn in by the melodic, operatic stylings of Yelizaveta Brown softly spot lit, who obnoxiously dons a fur coat and green trousers, she cleverly plays with the crowd subverting reality, as she holds her ground on a fridge flipped sideways. Brown is masterful in controlling perception with a gorgeous display of nonchalance as she sits upstage right faintly glowing as she scrolls on her phone; tokes her vape; and spins a flashlight that Malnieva chases like a dog.
Flitsmeister creates an eccentric, playful world of unexpected entrances. People climb out of fridges, ride bicycles onto stage, and erupt into unbridled, energised dance. Rooted in expressive movement, the ensemble builds a hypnotic rhythm from vocal soundscapes, and gesture motifs. Eliaan’s direction intertwines together laughter and terror seamlessly, offering strange hope through chaos.
Anastasia Malnieva, mirrored by Ruby May Robbins, a reflection of the self, emerging from the audience in a warm spotlight. As Malnieva delivers her mother tongue monologue with Robbin’s interjections, the pain is immensely felt. The twinned characters, Niamh Laughlin and Tamara Greatrex, move in perfect echo, wearing fur short-sleeve coats and tulle skirts. The two men, Emile Gallott and Yuya Sato, embody authoritarian power in black fur coats, their repeated marching and dragging movements scraping out a screeching rhythm that chills the space.
The choreography bridges play and pain, building towards chaotic rainbow flashing lights at ecstatic dance parties lighting designed by Edward Duke. Vocal soundscapes and spritely childlike movement, from hopping to doing the worm to gagging, maintain the otherworldly yet faintly familiar world throughout. The slapping of flesh becomes an ecclesiastical ritual of punishment and forgiveness.
Flitsmeister is messy, sincere, and absurd, creating a world dangerously close to our own and strikingly theatrical. It asks how we stay human when the world demands we choose sides and what happens when someone makes that choice for you.
Performances of Flitsmeister have now concluded at Voila! Theatre Festival 2025.
Jake Mace
Jasmine Silk
