Family battles

Every family has its own set of skeletons in the closet. Everyone has a number of secrets that they keep from even their nearest and dearest. In the MADC's latest venture, Losing Louis by Simon Mendes da Costa, we meet a Jewish family that has more than its fair share of secrets, lies and guilt.

Set in a family bedroom in two time frames, the 1960s and the present day, we see the effects of the infidelity of the patriarch of the family, Louis, reverberating in his own lifetime and in the aftermath of his death.

The concept is original in that you have the unfolding of two very different domestic situations about the same family. Each part of the play is set in a different decade but in the exact same room - the bedroom. The action flows seamlessly from one scene to another without even a blackout in between the two generations.

In the late 1960s we see Louis, an adulterous solicitor, enjoying sex with his female protégée; what he doesn't know is that his son, Tony, is privy to their lovemaking. In the present day we see the family gathering for Louis's funeral, with Tony now a disgruntled middle-aged man hitched to a hideous vulgarian and bitterly resentful of his younger brother.

Director Wesley Ellul tells me that he was actually considering changing the title of the play to "How not to organise a Jewish funeral"!

"In this play we learn that the things we do today can seriously affect the lives of those who come after us. But underneath all of the undercurrents, Losing Louis is mainly about a family, and how to come to terms with life after a death in the family. This is the sort of play that can make you laugh and cry, sometimes with very short intervals in between," he says.

Mr Ellul decided earlier on to adopt a rather unconventional way of directing, in that the entire cast never actually met during rehearsals until production week. Since he chose to have separate rehearsals for the "younger" cast and the "older" cast, neither group knew what the others were doing!

"It has been like directing two plays at the same time. As half the cast is set in the 1960s and the other is set today, I created a sort of barrier around the two casts so their characters could develop individually without the influence of what happens in the other scenes. In fact, since the 1960s' cast would have no way of knowing what happened in the 2007 scenes, they weren't even given that half of the play to read," he explains.

The main character of Louis is being played by Malcolm Galea. This is his second play for MADC this year, and also the second one written by a Simon M., as he also took part in Audacity by Simon Mawdsley. What are the odds?!

As a talented scriptwriter himself, Mr Galea is full of praise for Mendes da Costa's play: "It's the kind of play which leaves the playwright side of me kicking myself for not thinking of the idea first! I'm sure that audiences will be thrilled at the double-drama of this story and their eyes will be riveted to the stage. Also, just today the director's initial decision to have me appear in a pair of 1960's Y-fronts had been revoked. Although this may not qualify as a reason for watching it per se, it does negate the biggest reason for not watching it," he chuckles.

Most people who know Mr Galea know him as somewhat of a joker. And he has subsequently been cast many times as that type of character. Losing Louis gives him the chance to flex his acting talents and play against type.

"Usually I'm cast to play easy-going, funny, or somewhat quirky characters - which suits me fine. However Louis is a short-tempered disciplinarian and just about everything else that I'm not... including Jewish. Apart from getting the characterisation right, I also need to portray the character's myriad weaknesses while staying faithful to his strong self-image. As with most characters I do, this process of experimentation and discovery is one that I find myself enjoying greatly," he told me.

It has been said that the author of this play, Simon Mendes da Costa, is the 21st century's answer to Alan Aykbourne. Actress Nanette Brimmer who plays the wife of Louis's son Tony - the bubbly and excitable Sheila - believes that the script is a crowd-puller.

"Mendes da Costa chooses to entertain rather than to challenge or provoke, and the script is well constructed as well as witty. The unfolding family saga is compelling and, as more and more is revealed, everything makes perfect sense, while not being wholly predictable. There are many skeletons which refuse to stay buried in this bedroom cupboard! Although the action all takes place in one room, it is never dull or claustrophobic to watch. It is funny - hilarious in parts - and engaging," she says.

Better known for her work on TV and radio, Ingrid Scerri is back to treading the boards after gaining a best actress nomination for her interpretation of the late Sarah Kane's 4.48 Psychosis at the MADC's One-Act Play Festival last year. She says that Losing Louis presents a microcosm of everyday life.

"It shows up things that would otherwise go unnoticed. Here they are brought to the forefront in a direct manner. Also, as the characters vary so much from one to the other, one is sure to identify with one or more."

According to Rachel Darmanin Demajo, who last year played the part of a Scottish maid in Curtain Call's Boston Marriage, her main challenge this time is ironically the fact that she has to put on another accent... this time a Cockney one. She plays Louis's wife Bobbie.

"I am doing a slight Cockney accent and sometimes I lose it! Another challenge is that I have to do some rather embarrassing things on stage with Malcolm! Also, he is so funny that I can barely keep a straight face during rehearsals," she laughs.

• The play will take place at the newly refurbished and fully air-conditioned MADC Clubrooms in Sta Venera today and tomorrow (preview nights) and on Friday, Saturday and Sunday at 8 pm. Tickets may be obtained be phone 2122 4011, by e-mail: bookings@madc.biz or online at www.madc.biz