If it were ever true that the Maltese theatre community preferred to play it safe and not rock the boat - whether this was due to actual inclination or to the overhanging threat of censorship - it is now no longer the case. The local theatre scene has lost its innocence, and local production companies are no longer afraid to break taboos - be they political, moral, religious or social - and tackle controversial subjects and issues. Last year's highly popular Unifaun production of Philip Ridley's Mercury Fur is a case in point - and, if further proof were needed, the same company is soon to put up a production of Sarah Kane's equally controversial Blasted.
As the choice of acclaimed international plays has grown more daring, however, home-grown plays have, with some exceptions, continued to appear somewhat over-cautious. It seems there is still a certain reticence when it comes to engaging with everyday Maltese life - we find comparatively little of the caustic social criticism, radical politics and confrontational iconoclasm of the most vital and incendiary of international theatre, with the majority of playwrights and directors opting for a softer approach. Though things are changing fast, it would appear that harsh satire, shattered taboos and a radical outlook retain their power to shock and cause scandal if the story takes place on the streets of Valletta and Sliema rather than in more far-flung locales.
On those terms, then, Il-Manifest tal-Killer, Lemonhead Productions' stage adaptation of Karl Schembri's novel, makes for a refreshing prospect. A chaotic yarn that takes an offbeat, sidelong and often wickedly witty look at the everyday life of the Maltese population, the story focuses on a person calling himself "il-Killer", who has been posting anonymous messages on his website. These messages wreak havoc on the country, and, as their impact ripples out across various sectors of society, the plot ropes in a colourful cast of characters, including a gang of anarchist Sixth Form students and a Junior College watchman accused of freeing a tiger from a visiting circus.
The story comes with its own pre-packaged controversy: Mr Schembri encountered difficulties in having the novel published, and a subsequent reading of the novel on radio was pulled off the air. The novel has now been adapted for the stage by Bryan Muscat, who is also directing the production. His enthusiasm for the novel, and for the stage adaptation of the story, is instantly apparent.
"I had barely read the first two paragraphs and I could already imagine the story being performed in a theatre - the narrative really lends itself to the stage. It's telling an everyday story - albeit one that's distorted slightly through the lens of satire - but it's still a powerful narrative. Its strongest element is that it doesn't feel artificial in the slightest - it's entirely natural, real, and alive, and it's a story that's easy to identify with. I read the book in a matter of hours, I couldn't stop turning the pages," Mr Muscat enthuses, "and I laughed out loud, repeatedly."
The play, Mr Muscat promises, is a very loyal adaptation of the novel, offering a new perspective on the same story rather than a heavily modified narrative. Certainly every effort has been made to retain the novel's sharp sense of humour, and with a cast headed by Zoo's Chrysander Agius, Mr Muscat suggests that even the rehearsals have been riotous. He adds, however, that some may find the sharply satirical bent of the humour hitting uncomfortably close to home - though he is quick to point out he considers this its greatest strength.
"I found the story unique in the wide-ranging scope of its criticism - nothing and no one comes out unscathed," Mr Muscat smiles. "We're used to a narrowly political form of satire, but the satire here is aimed at every element of Maltese society - certainly the politicians and institutions, but extending even to people in the street. It's a caricature of the Maltese character in every aspect. The audience will identify themselves in the characters on stage - it's a good way to test your capacity to laugh at yourself, and that's one of the elements that most attracted me to this story."
Mr Muscat feels that this capacity for self-irony has previously been lacking in Maltese culture, but that this has begun to change in recent years.
"There is plenty of bad language in the play - it's crude, explicit and savage - but I don't feel it's superfluous. An integral part of the novel's spirit would have been lost if we excised the dubious language. After all, this is a portrait of society, and if some characters, in some situations, don't make use of some very colourful language, it just doesn't ring true to life," adds Mr Muscat.
Much has been made of the novel's engagement with the social impact of newly-emergent electronic media - especially how these new media can serve as a platform for subversive or counter-cultural messages in a claustrophobic media landscape dominated by establishment viewpoints. As Mr Muscat notes, this thematic focus of the novel has presented special challenges in the transition to the stage, but it has also opened up unique possibilities for the production. The element of new media is being incorporated into the production itself, which will deploy a heavily multi-medial approach, expanding the theatrical space, for instance, through the use of video projections for flashbacks and images of related events. It's yet another innovative aspect to a production that, in many ways, promises to be a breath of fresh air for the local theatre scene.
• Il-Manifest tal-Killer is being staged at MITP Theatre in Valletta today and tomorrow and next weekend. More information may be obtained by phone on 7947 8726 or online: www.lemonhead.com.mt.
As the choice of acclaimed international plays has grown more daring, however, home-grown plays have, with some exceptions, continued to appear somewhat over-cautious. It seems there is still a certain reticence when it comes to engaging with everyday Maltese life - we find comparatively little of the caustic social criticism, radical politics and confrontational iconoclasm of the most vital and incendiary of international theatre, with the majority of playwrights and directors opting for a softer approach. Though things are changing fast, it would appear that harsh satire, shattered taboos and a radical outlook retain their power to shock and cause scandal if the story takes place on the streets of Valletta and Sliema rather than in more far-flung locales.
On those terms, then, Il-Manifest tal-Killer, Lemonhead Productions' stage adaptation of Karl Schembri's novel, makes for a refreshing prospect. A chaotic yarn that takes an offbeat, sidelong and often wickedly witty look at the everyday life of the Maltese population, the story focuses on a person calling himself "il-Killer", who has been posting anonymous messages on his website. These messages wreak havoc on the country, and, as their impact ripples out across various sectors of society, the plot ropes in a colourful cast of characters, including a gang of anarchist Sixth Form students and a Junior College watchman accused of freeing a tiger from a visiting circus.
The story comes with its own pre-packaged controversy: Mr Schembri encountered difficulties in having the novel published, and a subsequent reading of the novel on radio was pulled off the air. The novel has now been adapted for the stage by Bryan Muscat, who is also directing the production. His enthusiasm for the novel, and for the stage adaptation of the story, is instantly apparent.
"I had barely read the first two paragraphs and I could already imagine the story being performed in a theatre - the narrative really lends itself to the stage. It's telling an everyday story - albeit one that's distorted slightly through the lens of satire - but it's still a powerful narrative. Its strongest element is that it doesn't feel artificial in the slightest - it's entirely natural, real, and alive, and it's a story that's easy to identify with. I read the book in a matter of hours, I couldn't stop turning the pages," Mr Muscat enthuses, "and I laughed out loud, repeatedly."
The play, Mr Muscat promises, is a very loyal adaptation of the novel, offering a new perspective on the same story rather than a heavily modified narrative. Certainly every effort has been made to retain the novel's sharp sense of humour, and with a cast headed by Zoo's Chrysander Agius, Mr Muscat suggests that even the rehearsals have been riotous. He adds, however, that some may find the sharply satirical bent of the humour hitting uncomfortably close to home - though he is quick to point out he considers this its greatest strength.
"I found the story unique in the wide-ranging scope of its criticism - nothing and no one comes out unscathed," Mr Muscat smiles. "We're used to a narrowly political form of satire, but the satire here is aimed at every element of Maltese society - certainly the politicians and institutions, but extending even to people in the street. It's a caricature of the Maltese character in every aspect. The audience will identify themselves in the characters on stage - it's a good way to test your capacity to laugh at yourself, and that's one of the elements that most attracted me to this story."
Mr Muscat feels that this capacity for self-irony has previously been lacking in Maltese culture, but that this has begun to change in recent years.
"There is plenty of bad language in the play - it's crude, explicit and savage - but I don't feel it's superfluous. An integral part of the novel's spirit would have been lost if we excised the dubious language. After all, this is a portrait of society, and if some characters, in some situations, don't make use of some very colourful language, it just doesn't ring true to life," adds Mr Muscat.
Much has been made of the novel's engagement with the social impact of newly-emergent electronic media - especially how these new media can serve as a platform for subversive or counter-cultural messages in a claustrophobic media landscape dominated by establishment viewpoints. As Mr Muscat notes, this thematic focus of the novel has presented special challenges in the transition to the stage, but it has also opened up unique possibilities for the production. The element of new media is being incorporated into the production itself, which will deploy a heavily multi-medial approach, expanding the theatrical space, for instance, through the use of video projections for flashbacks and images of related events. It's yet another innovative aspect to a production that, in many ways, promises to be a breath of fresh air for the local theatre scene.
• Il-Manifest tal-Killer is being staged at MITP Theatre in Valletta today and tomorrow and next weekend. More information may be obtained by phone on 7947 8726 or online: www.lemonhead.com.mt.