When the absolute truth becomes absolutely false

Back in Malta to direct his second play, the controversial writer-director Mario Philip Azzopardi is not giving much away about his forthcoming production at the Manoel Theatre.

Three years ago local theatregoers flocked to see Sulari fuq Strada Stretta, the script of which had lain in the Manoel’s vault for over 30 years. Banned by the local censors when originally submitted, his work was given a revised rating and staged at the national theatre in March 2008.

“Of course it was a case of sweet vindication and I am very grateful that the committee of the Manoel Theatre had given me this opportunity,” he told me, adding, “but as somebody had remarked to me, although the work retained its dynamism, had it been presented earlier its effect would have been tremendous”.

When this 60-year-old, big bearded man talks theatre, his jet-black eyes burrow through you while his gesticulating hands and resonant voice are so full of energy that it makes you feel as if you’re in the path of successive tidal waves.

The censorship trauma and the lure of a fledgling cinematic industry in Canada enticed the then 21-year-old Azzopardi, accompanied by his brand-new wife to emigrate and within two years of his landing he wrote and directed Deadline, a low-budget feature film which acquired cult status in Canada. This was followed by constant work in film and television making him one of Canada’s leading directors. His latest film, Savage Messiah (2002) earned seven nominations at the Genie awards, Canada’s version of the Oscars, winning three of the nominations. In the 1980s, together with the New York production company Grosso Jaconson, Mr Azzopardi successfully pioneered the until then untested experiment of producing American programming abroad and gave birth to a new co-production formula between the US and Canada, which has currently flowered into a successful cinematic infrastructure.

During the course of such a conversation discussing the current state of Maltese theatre did not require too much goading. It was sine qua non. While there is much going on on the boards on consecutive weekends, local theatre seems to labour under a kind of “intellectual colonialism” in the belief that British is best. The major companies vie to produce class-conscious comedies from the West End, or sensational shockers, while drama schools seem unable in inculculating a Maltese theatrical ethos among students.

It is mind-boggling how such indigenous topics like Malta’s entry into the European Union, the clandestine landings, controversial Presidential pardons and the disappearing environment are not perceived as unique dramatic fodder. Local writers, more often than not, seem to opt for sitcoms and “philosophical” discussions alien to the Maltese experience.

With Xbihat (Images), and sporting a mammoth cast of 18 speaking parts, Mr Azzopardi aims to revisit the 1960s and ripping the lid off the political/religious strife of that era, with all the incumbent social strife and chaos caused by interdicting all those who planned to vote for the Labour Party in the 1962 election. The play scans that dark chapter in our history when the Church blackmailed the workers’ party with mortal sin if its members voted according to their conscience.

Pressed to define his work in one sentence Mr Azzopardi unhesitatingly bawled out vehemently: “It’s when the absolute truth turns out to be absolutely false!”

There is scarcely a soul today who does not admit to the gross mistakes committed by Archbishop Michael Gonzi at the time. And when Mr Azzopardi quietly ruminated. “And what if there has been other mistakes?” he had me thinking.

On the table lay Ray Farrugia’s striking artwork of the Xbihat poster, a pastiche of the Christian cross with the banners of the two major parties entwined with the arms.

And suddenly the new work dawned on me as I instantly sensed the development of idea, theme, story, characters; and in a flash I realised how all these thoughts and feelings were quintessentially Maltese.

Having spoken to the flamboyant Mr Azzopardi both before and after his earlier Sulari production, I must confess to feeling somewhat committed by this Renaissance man reborn.

And following our latest chat I now understand why this man carries with him this permanent aura of expectation.

• Xbihat Ta’ Xi Whud Li Huma Kattoliċi (Cert 16) is being staged at the Manoel Theatre on February 25, 26 and 27. Tickets may be obtained by phone on 2124 6389 or online www.teatrumanoel.com.mt.