Theatre
L-Għanja taċ-Ċinju
Manoel Theatre
Why, it was asked on all sides at the opening night of L-Għanja taċ-Ċinju (Swansong), should Joe Friggieri have wanted to write a play about Socrates? I can think of a number of reasons that might have drawn the two men together across the centuries.
Prof. Friggieri’s admiration for the Greek philosopher whose way of life, character and thought exerted a profound influence on ancient and modern philosophy, may be easily discerned from the diligent choice of words found in the programme of his play.
The fact that the playwright recently addressed the delegates at a Nationalist Party council meeting and his comments stemmed a lively debate on it-Torċa, the weekly newspaper in Maltese, featuring thinkers like Alfred Sant, Mark Montebello and Aleks Farrugia, also provides a rare local occurrence which, by stretching one’s imagination to the full 360 degrees, could find itself sitting prettily in Socratic mode.
In form, the play is sedulously Brechtian, an epic succession of eight scenes conceived in the manner of Galileo and John Osborne’s Luther.
The play’s first part where words fell effortlessly and the action moved at a steady pace, comprises his accusers (Żep Camilleri, Stefan Farrugia and Chris Grech) conspiring against Socrates, (Michael Tabone in a well-crafted performance), followed by the reconstruction of the legal proceedings and eventual declaration of the death sentence by the chief judge (Renato Dimech). Lighter interludes involving the young Sokratinu (Martin Gauci), as portrayed in an earlier Aristophanes’ comedy Clouds, where Socrates teaches young Pheidippides how to formulate arguments to justify beating his own father, and Strepsijadi’s (Simon Curmi) comical tirade after being beaten by his son, having previously sought advice from the wise man on how to escape revenge by his debtors, provide the necessary comic relief.
Throughout the second, and slower moving part, Prof. Friggieri mounts an even more detailed portrait of the hero, this time through those near and dear to the great peasant philosopher.
Alcibjadi’s soliloquay (Chris Spiteri exploiting his considerable stage presence working in tandem with a chorus that’s constantly on the move beating the boards with sticks) insults Socrates’ detractors while singling out the hero’s glorious attributes he had personally experienced with his mentor on the battlefield. The emotive general also requests that his medal for merit be more fittingly awarded to Socrates.
Three Athenian women (Anna Bassily, Teresa Gauci and Moira Muscat) signify their different perception of the great man. Socrates had featured on the side of those in favour of the Athenian invasion of Sicily and was blamed by a significant segment of the citizenry for its disastrous outcome.
When two members of that much maligned acting profession (Ms Gauci and Mr Curmi in a double role) join the ladies, they soon find themselves at the receiving end of the females’ biting tongues. However, in a bit of clever writing this jocular scene is quietly transformed into moments of poignancy, as both actors become aware of Socrates’ comments about them.
The one whom his own wife has decried as ugly “is beautiful from the inside”, while the other, a self-confessed good-for-nothing, “is a good actor”.
For not unlike a well-crafted piece of restoration Prof. Friggieri’s portrait of the man emerges gradually as we keep on discovering the hero’s humane qualities till the very end. The actors’ revelations are followed by those of his wife Santippi (played with panache by Jane Marshall). She confronts his accusers to say the things her husband would not allow her to state in his defence in court.
She is in turn followed by Kritun (a credible performance by Anthony Ellul), the close friend who stays till the bitter end and is instrumental in bringing out the shining ordinariness of the man.
However, the play’s fascination lies in the fact it presents a man who takes extraordinary steps throughout his life to be of the greatest possible value to his community. Far from earning him the gratitude he deserves, his approach leads to his condemnation and death at the hands of the very people he seeks to serve. Socrates is painfully aware that he is a hated figure and that this is what has led to the accusations against him. He has little money and no political savvy or influence, and he has paid little attention to his family, and all in order to serve the public that now reviles him. What went wrong?
Albert Marshall directed the play with great finesse, assisted by a great team which resulted in a beautifully dressed-up stage (Ray Farrugia), effective projections (Gerald Agius Ordway), beautiful costumes (designed by Donald Friggieri with Dorothy Ebejer as the seamstress) and pleasant lighting (Marvin Sultana).
Some of the voices lacked technique and some performances seemed to declaim to the audience “we are actors on stage” rather than “we are in Greece and you are witnessing life”. But in a Manoel season of revivals and imports Prof. Friggieri and Mr Marshall have shown us the way to the real McCoy.