Issue link: https://maltatoday.uberflip.com/i/1481871
maltatoday | SUNDAY • 16 OCTOBER 2022 6 THEATRE Ta' Fuqha Senduqha, a new play about poverty in Malta at Spazju Kreattive Andre, what was the intention behind Ta' Fuqha Senduqha? AM: Whenever I write some- thing my intention is always the same; I want to tell a good story. Whatever the theme, whoever the commissioner of the work might be, I am inter- ested in telling a good story to the audience. Obviously, there is always a by-product and theatre is known to spur dis- cussions, to inspire people, to change society. I'd be very hap- py if my work does that also, but really and truly my true in- tention behind anything I write is to tell the best story I can tell. And, did you, in any way, use language to affect the audi- ence and explore the ideas or ask certain questions? AM: To me language is all about the characters I am writ- ing about. It is through each character's language that I can give different shades to the characters. Normally when I write the first draft, all char- acters start to sound the same. The language I used during the first draft is my own language. The one I use when speaking to my peers. When I am re-writ- ing, I start shaping the char- acters through the language and jargon that they use. This would normally depend on the social context they are in, their background, where they live, what employment they have, their age etc. So, to me language is a tool to colour my characters. I can't say I have consciously used language to affect the audience, explore ideas or ask questions. I have used language to shape char- acters and probably it would be the characters and the plot which would lead audiences to ask questions and keep on dis- cussing the theme perhaps… HB: How did you work on achieving your goals and highlighting certain elements throughout this production? AM: What I like to do is im- merse myself as much as pos- sible in the social context that I am writing about and then write. My goal was to write something which resonates and is inspired by the research and networking I had done. Perhaps the tricky part in the process was to find a balance between saying everything that needs to be said and having a good story to tell. Now, Toni, how do these characters function within the play and how do they affect or refract the themes ideas or questions? TA: Ruth is the central char- acter of the play. All Ruth wanted was for her son to have a better life than she did. Sim- ple, but not easy. Ruth recounts a series of events that have led her to fall into the depths of the poverty line. At times she is hopeful and pushes on to bring herself out of the situation she is in however, she falls victim to circumstance in other mo- ments leaving her with nothing or very little. The play goes be- yond statistics, social benefits, low wages and inflation show- ing audiences that poverty is not always a question of wealth. The story is a fictional one but the characters are everyday people that are deeply root- ed in Maltese reality. Miche- la Farrugia, Josette Ciappara, Charles Sammut, Sharon Bez- zina and Clint Chricop make- up the exceptional cast, playing different characters that bring this contemporary play to life. The actors work as an en- semble shifting across mul- tiple characters. They are all connected to Ruth and their actions and inactions have a direct consequence on her own life situation and of those around her. This production also has a collaboration with YMCA. Why is it so important for such organisations to be a part of these productions in order to continue moving forward? TA: I strongly believe in the power of the arts as a platform for conversation on matters that impact our community. Every season I try to develop a project that can facilitate such conversations in a creative way by engaging artists and au- diences. NGOs active in that particular mission are crucial to ensure that the project itself can support their advocacy. Above all, their collaboration is crucial to ensure that the creative team is able to engage with experts and practitioners in the field thus providing in- sights into the complexity of the themes which are research- ing and developing. Every pro- ject has its own specificities. For example our collaboration with Opening Doors on Is-Si- gra tat-Tin was focused on inclusive arts practices. For Il-Pożittivi, we collaborated with MGRM to ensure a safe environment for participants living with HIV who accepted to share their own experiences. For this production, Andre was given access to the work of NGOs supporting people fac- ing poverty and homelessness. In addition we really wanted to take concrete action to support YMCA by creating a food drive during the performance, in- viting audiences to bring long shelf life foods with them at the theatre. This will help 75 families that are currently being supported by the YMCA. Ta' Fuqha Senduqha pre- mieres this weekend with per- formances also happening next week from the 21st until the 23rd of October. More informa- tion on www.kreattivita.org. Ta' Fuqha Senduqha is a play that aims to search and find its culmination in the current Maltese poverty situation. The story is fictional, but the stories and characters can be encountered every day. Hayley Bonnici catches up with writer Andre Mangion, and director Toni Attard during production week at Spazju Kreattiv Hayley Bonnici