Theatre
Xagħret Mewwija
St James Cavalier

Anybody who enjoys a good laugh is bound to find it in Xagħret Mewwija, Trevor Zahra’s latest theatrical offering produced by Kast Theatre Group.

... a good show which delivers what it promises and more

Zahra’s script works on the basis of a collection of sketches of events happening throughout the centuries brought together by their location – the hill of Xebb ir-Ras – the current location of our capital city, Valletta.

Given its colourful and chequered history, the city lends itself well to narrative and this entertaining piece was made all the more interesting because it looked at historical events from the point of view of the underdog – with one of our most vilified invaders recounting the events – none other than Dragut himself.

Touted as “l-Istorja tal-Belt, Milwija” (the twisted history of Valletta) precisely because of the biased narrator, the performance was, for the most part, a well-balanced mix of more historically significant events, blended with generic occurrences and some great fictional imaginings of dialogue and interaction between famous historical figures.

I particularly enjoyed the bedroom discussion between Giloramo Cassar and his wife – played very ably by Charles Sammut and Antonella Galea Loffreda. These two actors, along with the rest of the cast, showed their skills in versatility and adaptability in playing multiple roles.

The only cast member who interpreted one character throughout the performance was Joseph Galea’s excellent Dragut, who poked fun at the Maltese as a spirit bound to haunt the area around Valletta after his death, thereby experiencing all of its developments over the centuries since its inception. His often caustic remarks, tinged with regret at having fallen in love with a Maltese girl, highlighted many of the foibles of our people. His particular brand of quick-witted critical comedy was well-scripted by Zahra and delivered very effectively by Galea.

The girl he once fell in love with, played by Christine Micallef, was rather whinging and her mother (Galea Loffreda) was a typical caricature of an annoying Mediterranean mother-in-law.

The scene concerning the first fire at the Royal Opera House was interesting although rather drawn-out with Sammut and Joe Pace portraying the two night-watchmen whose negligence brought about the destruction of the theatre in the late 19th century.

It could have been punchier if shortened – but the performances were solid all round.

I also enjoyed Pace’s portrayal of Francesco Laparelli – the architect entrusted with the planning of Valletta as a model urban zone. Mincing and sycophantic, Laparelli managed to get the job through flattery, but, as Joe Cortis’s Grandmaster La Vallette informs him, he needn’t have worried – he was a foreigner (and an Italian) – so it was obvious he was going to get the job.

It is these subtle jibes at contemporary events and decisions – from artistic and aesthetic choices to the winning of tenders and the way the election campaign is developing – which were satirised and cleverly poked fun at by exposing older historical examples of the same dubious choices.

With original music by Augusto Cardinali and lighting by Pierre Bugeja, the production was slick and well conceptualised, only lulling in the rather longer scenes, but picking up momentum in scenes like the one related to Carnival, which involved chanting and masked and cloaked characters revealing the restrictions decreed at the time of the knights.

Director Carmel S. Aquilina had a strong vision for this production as was evident from the creative use of space and the seamless manner with which it was executed.

Xagħret Mewwija is a good show which delivers what it promises and more – certainly one to go to this weekend.