Theatre
Il-giddieb għomru qasir
Sir Temi Zammit Hall, Msida
Upholding the law is usually synonymous with honesty and fairness but, clearly, the rules do not seem to apply when those who are meant to do the right thing feel too uncomfortable to do it.
Unifaun’s production of Anthony Neilson’s farce The Lying Kind, translated into Maltese by Simone Spiteri, looks into the hilarious misunderstanding that arises when a single moment of hesitation allows a white lie to fester and turn into a huge miscommunication and cover-up story.
Police officers Blunt (Sander Agius) and Gobbel (Daniel Chircop) are finding it very hard to tell an old couple that their daughter has died in a traffic accident on her way home for Christmas. Their dithering leads to a rather unpleasant encounter with chavvy mum and vigilante paedophile-catcher, Gronya (Magda van Kuilenburg) – a formidable character who does not trust the police and scares them far more than the possibility of ruining the old couple’s Christmas.
When they finally decide to ring the doorbell, Garson Connor (Marylu Coppini) answers the door and greets them with despair, saying that “her darling has died”. Astonished by what they hear and relieved by the fact that they don’t actually need to say anything, the two are ushered in and meet her husband, Balthazar (Michael Tabone). Much to their horror, they later realise that the occasionally senile Garson was not referring to her daughter and the madness of trying to rectify the error begins in earnest.
Agius and Chircop have been a good comic duo for a long time and this is reflected in their dynamic
Enter Snits as Dun Shandy, the new priest calling in to give his condolences and offer help, and the rather grumpy, inarticulate teenager Carol (Julie Pomorski), who is looking for her dog, and the comedy evolves into mayhem and slapstick.
Director Chris Gatt had a good script to work with although some of the verbal sparring and less physical gags required a particularly English frame of mind to be enjoyed fully. The play’s themes are interestingly dark – churning up the concept of death and loss, the fear of paedophilia lurking in our midst and the poignancy of old age. However, it is the hilarity of the piece which comes to the fore thanks to the very strong characterisation of the cast, as well as their excellent comic timing.
Romualdo Moretti’s set design, with a clever revolving stage, facilitated the classic elements of action comedy and shifted the focus firmly on the actors’ antics.
Agius as the rather bossy Blunt and Chircop as the bumbling Gobbel, who doesn’t know when to stop talking, have been a good comic duo for a long time and this is reflected in their dynamic.
The aggressive and slightly unnerving behaviour of van Kuilenburg’s Gronya was incredibly funny as she threatened the two policemen but also reflected her personal tragedy as a victim of abuse – blinded as she is to what is closer to home than she ever dares to imagine.
Michael Tabone’s rational and sweet-natured Balthazar is the only truly sane person in the house, dealing with his wife’s dementia and the grudge she holds against him. This portrayal was typical of Tabone’s understated yet incisive comic style.
It was a pleasure to see Marylu Coppini acting in Maltese, bringing her brand of wit to a batty old lady, making her character irritating and endearing in equal measures.
If you’re after some light-hearted weekend entertainment, Il-giddieb għomru qasir is certainly one to watch, as I’m sure its English version will be too.
• Il-giddieb għomru qasir is showing again on Friday, Saturday and Sunday at Sir Temi Zammit Hall, University of Malta, Msida, at 8pm. For tickets, log on to www.ticketline.com.mt or visit the Embassy cinemas in Valletta.