Theatre
Tebut Isfar
Valletta Campus Theatre

However much we attempt to resist it, change launches its inevitable and often ravaging onslaught on all of us. The way in which an overlying environmental theme can reveal so much more about human foibles and personal heartache is cleverly explored in Clare Azzopardi’s new play, Tebut Isfar.

Phyllis (Lee-N Abela) has a moment with Yasmina (Mariele Zammit) in Tebut Isfar. Photo: Christine Muscat AzzopardiPhyllis (Lee-N Abela) has a moment with Yasmina (Mariele Zammit) in Tebut Isfar. Photo: Christine Muscat Azzopardi

It looks at how the modest lives of Valletta coffin-maker Ġorġ (Peter Galea) and his sweet-natured but rather odd daughter Yasmina (Mariele Zammit) are threatened by the curse of commercial development.

Ġorġ has been resisting change for a long time and the happy, if simple home environment that he creates for his 18-year-old daughter is about to come crashing down around him if the mercenary Gustav (Anthony Ellul), an unscrupulous property deve­loper gets his way and buys him out.

While the play seems to have an outwardly clear message in denouncing the destruction of our country’s architectural heri­tage in favour of concrete monstrosities, it only serves as a background for a much richer and more complex exploration of the destruction of family life, not only by the external forces of development, but also by the internal forces of uncontrolled mental health issues.

The latter have repercussions on both Ġorġ and Yasmina, leaving the latter traumatised and child-like, in her naïve ignorance; and the former desperate to suppress his anguish and horror – something they do very effectively by using humour and eccentric rituals in their father-daughter relationship, where Yasmina playfully transforms the coffins he makes into her personal playground, where she buries her dolls and fears.

Strikes at the core of what makes us human and criticises some of the elements that make us Maltese

The appearance of Phyllis (Lee-N Abela) adds confusion to Ġorġ and Yasmina’s life as this very determined and rather eccentric lady saunters in demanding a yellow coffin as a means of revenge over “a very bad man”. It is clear to the audience that Gustav, Phyllis, and to a certain extent, Ġorġ, also have hidden agendas and skeletons in their closets, which they all wish to keep from each other.

Yellow, as it is clearly expressed by Phyllis, not only represents the sun and the sand, but also fear and cowardice – the only question is – who do these extend to?

Galea gives a great performance as a father desperate to keep his life intact and his daughter safe, in his own misguided way. His dynamic with Zammit’s Yas­mina was sharp, clear and convincing.

Zammit, in her best role and execution to date, has gone to great lengths to portray a highly nuanced and difficult character  who is funny and likable but still elicits the pathos required by her past experiences.

Hers was a terrific performance – as highly watchable as Abela’s Phyllis. Her vocal modulation and comic timing is impeccable and she and Zammit together carried the weight of the complex contrast of light and dark humour and poignant insight that Azzopardi’s excellent script conveys so well in its slick conversations and clever expository wit.

Ellul was just right as the fourth element in this play – countering Phyllis in his dogged myopic vision for personal gain – or does he? This is another crucial point the play makes – do not trust anybody.

With Marcelle Teuma’s acutely sensitive directorial vision, Azzopardi’s script came to life in the best possible way in spite of the pervading imagery of death.

Romualdo Moretti’s sets have also become synonymous with a stylisation that works incredibly well and enhances the audience’s understanding of the play. Maltese life in all its eccentricities and quirks, has never been, ironically, more alive.

Tebut Isfar is certainly not one to miss – a play that strikes at the core of what makes us human and criticises some of the elements that make us Maltese.

Tebut Isfar is being staged at the Valletta Campus Theatre on Friday, Saturday and Sunday and October 26, 27 and 28 at 8pm.

Tickets may be bought at http://ticketline.com.mt .

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