Kitbiet Dwar It-Teatrin – Testimonjanzi, Intervisti u Analiżi
edited by Mario Azzopardi
Malta Drama Centre/Ministry of Education pp 134
ISBN 978 99932 0 952 2

During my childhood and adolescence, the main two sources of amusement were the cinema and the teatrin, the latter evoking in me the most-bitter sweet nostalgia. Almost every town and village in Malta had its own theatrical company, all consisting of very dedicated amateur actors, who simply loved the stage and wanted to promote both their talents and the works they performed.

Żabbar too, had its own company, the Kumpanija Goldoni, and its premises were two rooms on the opposite side of the then very busy Buckingham Theatre, in which most of the plays were staged, between film-shows, mostly during weekends. And invariably to full houses. Ironically enough, my first brush with the classics came through the adaptations which the Goldoni used to stage so passionately during those years, not without the inevitable gaffe and blooper, which added to the overall amusement.

I was therefore more than eager to go through this recent publication about the Maltese teatrin, which covers 150 years of this delectable art that has brought so much joy to so many hearts.

In her introduction to the book, Dolores Cristina wisely remarks that the continuity of the teatrin wasn’t the prerogative of politicians, but of the artists and the intellectuals, and it was up to the latter to offer a sense of direction. Then follows a series of very informative essays. Oliver Friggieri expounds at length the aspects of the teatrin, particularly from the sociological and psychological points of view. Marco Galea analyses the concept and the wherefores of the art vis-à-vis the elements of protest and fear.

Mario Azzopardi interviews three veteran and dedicated actors: Pawlu Camilleri, Emanuel Grima, and Franz Spiteri as well as an avid theatre goer, Maria Azzopardi Bottiglieri, all with their own amusing anecdotes and information regarding the teatrin in Ħamrun. To complement, Charles Briffa, in another nostalgic ramble down memory lane, relates how the teatrin fared at Birkirkara, and how it amused and impressed him in his formative years. The essays continue with another splendid account by Immanuel Mifsud who writes expansively about a theatrical project at Paola, way back in the 1970s, focusing on the ever-popular farce and the awe-inspiring Passion play.

Again Mr Azzopardi, provides some very interesting historical notes regarding the theatrical activities in Rabat, with meticulously researched information about the links Francis Ebejer had with the teatrin as we know it.

Two appendices bring the book to a close. One is entitled: Ittra mingħand Charles Clews, a letter which the late famed comedian had sent to Mr Azzopardi in August 1999, in which the very popular icon of the Maltese teatrin, in his inimitable way, commented about his long career on the stage.

The cherry on the cake is the splendid second appendix entitled Il-Kumpanija Siparju . Here Mr Azzopardi resorts to the pseudo-fictitious to bring out the very essence not only of the teatrin as we know it but also that of the Maltese psyche, and with very subtle brushstrokes of irony and witty remarks metaphorically brings down the curtain on a book that is one of a kind.

It-Teatrin is further enhanced by a very good number of photos, many of them very rare indeed, and is a must for all lovers not only of the Maltese stage, but also for those who, like me, have known better days, and would love to go nostalgic.