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maltatoday | SUNDAY • 8 SEPTEMBER 2024 2 THEATRE Safergrounds: Dystopia with a wink LAURA CALLEJA speaks to Rowena Zammit and Michael Farrugia co-founders of the Busli Collective on their latest creation Safergrounds. Set in the near future under a far-left regime, Safergrounds offers an ironic take on a dystopian world where queer individuals are conf ined to a so-called 'Safe Haven.' Can you tell us what the inspira- tion behind Safergrounds is? Michael (M): In a media-space flooded with tokenised rep- resentation of queer identities, I wanted to create something that allowed local queer youth to see themselves in. I also wanted to create a space for conversation, to allow people who don't under- stand our community to come and learn something new, to be- come more understanding. Rowena (R): Safergrounds was born from two main starting points: The role education plays in shaping the youth's under- standing and acceptance of gen- der Identity and sexuality; and the lack of local queer plays that truly reflect the community's re- ality. With everything going on in the world, we wanted to create a show that lets the audience take a break from the chaos, laugh, and see things from a lighter perspec- tive whilst providing a raw show that captures the real experienc- es of people in the community. We first carried out the re- search phase, conducting in- terviews and focus groups with youth workers, educators, and members of the community. We found that education has become more open-minded, though there's still room for growth. The focus groups confirmed our belief that there's a need for more representation of the queer community in the arts, without always resorting to sad or tragic narratives. Then came the second phase: Auditions and R&D with the cast. Our goal was to represent the diversity within the commu- nity, and while it was a challenge to find talented actors from dif- ferent subgroups, we pulled it off. We spent five intensive days developing characters and the world of the show, and then the talented Michael had the task of transforming all that into a script—in just two weeks, no less! And here we are, excited to show what we managed to create! Can you talk us through the journey of writing the script from inception to the final product? M: When I started writing the script I felt almost overwhelmed, following months of research, hearing queer peoples' stories, hearing educators and youth workers' input, I felt an intense pressure to accurately represent every sub-section of our commu- nity fairly. I had just come off of writing two back-to-back thrillers, so going back to the comedy gen- re was a bit of a daunting task. However, of course my usual dystopian flair somehow found its way in anyway. After writing and re-writing the opening scenes a few times, I found the characters' and the show's voice. I understood the tone and the mood. The play ba- sically wrote itself at that point. The jokes worked, the characters felt real, and it clicked. I found myself laughing, empathising and worrying for the characters. When it was done, and I final- ly sat to read the first draft I was like, woah that's crazy. I start- ed to forget what I wrote, and I thought to myself, what men- tal gymnastics did I have to do to think of that next plot point, everything that happens feels so out of left field and yet feels right where it should be. It's dumb but it's self-aware, and that's why we love it. What can the public expect from the performance? M: The audience can expect to be entertained. I don't think at any point in the play you could guess what happens next. It's stupid, it's satirical, we make fun of ourselves, and we want you to laugh along. There are even a few digs at me in the play I've writ- ten in, so I hope at least they'll be laughing with me instead of at me! R: Hmm, it might sound a bit niche, but honestly - expect laughter, chaos, and plenty of audience interaction. There is a phrase that for me describes the full performance and what to ex- pect: 'Dystopia with a wink.' While writing the script and putting on the play, was there anything that surprised you about the entire process? M: The biggest surprise for me, was seeing our production designer Zofia Stelmaszczyk's sketches and mood boards for the production, it's so camp and whacky, exactly what you'd ex- pect from gay dystopia, I love it and hate it at the same time. Like, that came from my script? I'm the one to blame? R: For me, the standout mo- ment was the impeccable dedica- tion of our actors throughout the process. As part of our market- ing, we planned a protest stunt - yes, that was us making a scene in Valletta on 31 August and we didn't need to bribe them! AHA- HAH. But seriously, we work in a very collaborative and devised manner, and I can't emphasise enough how involved the actors were in creating a performance we're truly proud of. Do you have a favourite mo- ment or scene? I know spoilers, but is there anything you can share? M: Oh, for sure it must be any scene with Harleen 'Gwen' Be- nito Saico's character, her Sue Sylvester-esque character has me cracking up every time she speaks. Every character is so dumb sometimes, it's a treat to watch her shut them down. R: So far, it is the first scene be- cause of the energy they come in and the fact that it's purely hilar- ious, but I cannot say more than that or I will ruin the show and surprises in it! What was the experience of collaborating with MGRM and Agenzija Zaghzagh? M: It's great to see all the sup- port available from different lo- cal entities. Not only to us, but to the local community they're con- stantly giving back to. I hope we can encourage people to further seek guidance and find a sense of community within their space. From the get-go, I could sense the love and passion they have, and their willingness to listen and help. R: Amazing - we're genuine- ly so grateful for all their help! They were with us every step of the way. Both MGRM and Agen- zija Zaghzagh supported the re- search and helped push the show to get as much exposure as pos- sible. Agenzija Zaghzagh even provided the rehearsal space be- cause they really believed in the ethos of the project. I can't say thank you enough! But apart from MGRM and Agenzija Zaghzagh, I also want to take this chance to thank two other entities that made this pro- ject possible; Arts Council Malta through awarding us the Right to Culture Fund and Bank of Vallet- ta. We wouldn't be here today if it wasn't for them. Safergrounds will be on at the Theatre Next Door in Naxxar between the 20 and 22 Septem- ber. This project is in collabo- ration with MGRM, Agenzija Zaghzagh supported by ACM and BOV. Rowena Zammit and Michael Farrugia