Issue link: https://maltatoday.uberflip.com/i/1540302
1. What's been the most defining moment in your career so far? That's a hard question! I've been lucky to have had a varied career with several defining moments, depending on which 'hat' I was wearing. I began as an opera singer, then moved into education, direction, and costume design, and now make a living doing a mix of all three. Realistically, moving to Malta was a major turning point. There were so many exciting opportunities, both one-off ventures and long-term projects. TMYT (Teatru Manoel Youth Theatre), founded by Rosetta Debattista as part of the Toi Toi education programme, became a huge part of my life. As principal tutor, I spent five exhil- arating (and exhausting!) years working with inspiring young artists. We created wonderful performances, forged lasting bonds, and built a legacy that still thrives. I learned as much from my students as they did from me, and the work we did together remains among my proudest achievements. Most recently, I wrapped the second run of Kazin tal-Imqa- rbin, written and composed by the fantastic Luke Saydon—a former TMYT student turned colleague and friend. 2. As a creative, how do you navigate the world and speed of social media? I have a bit of a fickle relationship with social media. I do appreciate the value of it, as both a means of promotion and a source of enter- tainment. I do limit myself to short periods online, as I've found it too easy to disappear down the virtual rabbit-hole, but I think it can be a hugely beneficial resource, when used properly. I love the instant access to other artists' work and the wonderful diver- sity of material availa- ble—it can be a great source of inspiration. But I also find it exhausting at times, and I regularly take prolonged breaks. I'm a child of the 70s and quite an introvert- ed Scot, so I struggle sometimes with the idea of lives lived online and the never-ending documentation of one's existence. But then I give myself a shake, remind myself to step into 2025 and acknowledge the benefits of having so many cat videos readily available! 3. Do you consider artificial intelligence a threat to your career, or an opportunity? I don't think there is a simple answer to that question. I'm fascinated by AI and I do use it quite a bit for boring jobs, but I'm not an expert or a regular user, yet. I have friends who swear by it and have really perfected the art of making it work for them. It's here to stay, no putting the genie back in the bottle, so I'm definitely not shying away from using it. I don't feel especially threatened by it. Can I see a future where AI will design costumes for Panto? Absolutely. But will AI be able to go shopping for fabric or attend fittings and adapt the designs on the spot? Maybe not for a while. Of course, AI could generate a new concept for directing a musical, but the human interaction between a director and their cast isn't something that can be easily replicated. I'd prefer to find a way to make it part of my creative process, to make it some- thing to be utilised rather than something to be feared. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? I think the key to this is making sure you're supported and surrounded by the right peo- ple. People you can vent to, people who can give you a little boost when things are difficult and, most importantly, people who share the same work ethic. I was brought up by a very formidable woman whose mantra was 'Don't lower your standards because others won't raise theirs' and this has always stuck. I care very much about my work, about the process and the result, and I've always found the experiences which were the most fulfilling and enriching were the ones where I was part of a like-minded group. Of course, this works both ways, sometimes you're the one who needs sup- port and sometimes you're the person who gives it, but I never underestimate the importance of the creative team. 5. How do you balance your creative instincts with the expectations of your audience or collabo- rators? I'm not sure I've ever consciously thought of that, to be honest, but it's an in- teresting question. With regards to audience expectation, I think it varies from piece to piece. My go-to creative instinct definitely tends towards whimsical, quirky theatre. I've always been drawn to what is called 'Poor Theatre', primarily because I've rarely had large budgets to play with, but really because that style of theatre makes me excited. Pieces like Hush or Teatru tal-Miskin are very much in my wheelhouse. Small casts playing mul- tiple roles, minimal sets allowing for instant changes of location, props that function in countless ways- this is the kind of theatre that I love. I think potential collaborators know that's my style so they wouldn't be surprised if I suddenly suggested we create a show from cardboard boxes or shopping trolleys. In terms of the expectations of the audience, I always have one simple aim- tell the story. Tell the story with clarity, make sure the au- dience is engaged but not spoon-fed and try to give them an experience which will remain with them longer than the curtain call. 6. How do you approach a new project? Do you have a specific process or routine you follow? As a director, I always start by finding the hook, whether it's the location, time period, a specific character, or the script's theatrical language. Once that's clear, the rest falls into place. For example, when directing The Magic Flute for Opera Nova Project, setting it in a 1940s TB hospital gave the story coherence and each character a clear place in that world. Research is also key. I work visually, so I create detailed mood boards using references from books, films, and other sources. Having a strong central idea makes the process far more manageable, as everything builds from that foundation into a cohesive whole. I like to block pieces in sketch form before re- hearsals, giving actors a physical framework so they can focus on character. But the best part is always the rehearsal room, where the real discoveries happen. 7. Can you let us in on some of the future projects, works? Next up is a production of Annie where I'll be playing the role of Miss Hannigan. Its a truth universally acknowledged that I share many qualities with the character (ahem...) and I'm really enjoying bringing her to life, alongside an amazing cast under the expert direction of one of my best friends, Chiara Hyzler. Alongside this production, the Opera Nova Project is beginning its second year. We've planned a packed timetable for the students and can't wait to build on the successes of our first year. I'll also be designing costumes for a new production of Salome in the autumn and costumes for the Panto at the Manoel. And looking even further ahead, I'll be directing a new production of Handel's opera, Giulio Cesare in Naples. maltatoday | SUNDAY • 12 OCTOBER 2025 ART Calì's journey wraps up PAGE 2 MUSIC From space engineering to space music PAGE 3 ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A DENISE MULHOLLAND 7 questions for... Extra round What's the most memorable or transformative role you've played, and what did you learn from it? I played Jane in a play produced by The Shrinking Violets called In Other Words. In the play Jane is faced with the reality of Alzheim- er's, as her husband, Arthur, starts to develop the disease at a relative- ly young age. Playing this role was both challenging and cathartic. I lost my beautiful mum to this awful illness, and playing Jane allowed me to remember her before the decline. So much of the play was focused on who Arthur was before Alzheimer's; it reminded me that my mum was a fantastic, glamorous, feisty woman for almost 70 years. Scottish-born theatre maker and educator, I've lived in Malta for over 17 years. Working as a freelance performer and director, specialising in musical theatre and opera. Co- founder of theatre collective The Shrinking Violets and co-founder and artistic consultant of the Opera Nova Project. MaltaToday is supported by Arts Council Malta