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1. What's been the most defining moment in your career so far? Ironically, it has to be with my most recent production, The Full Monty. The story is great and Simon Beaufoy's writing manages to discuss themes that are still pertinent to a modern-day world, even though the film was released back when I was born. Having the pleasure of por- traying the character of Dave allowed me to resonate even more with myself and the character, who both share the same thoughts of one's body image and the expectations of men in society. In all of this too, it allowed me to break out of my comfort zone and do something I never thought I'd imagine, such as getting my kit off on the national theatre stage! 2. As a creative, how do you navigate the world and speed of social media? I try to see social media as both a tool and a challenge. On one hand, it's a great platform for sharing work, connecting with other artists, and reaching audienc- es beyond the theatre space, but I also make sure not to let its fast pace affect my creative process. Theatre thrives on pres- ence and reflection, so I aim to use social media intentionally, rather than letting it dictate my work. 3. Do you consider artificial intelligence a threat to your career, or an opportunity? I don't think AI is neither a threat nor an opportunity but more of a tool for helping people in both my field of work and for the general public. The only real threat is when AI is used for malicious intent such as creating so-called "AI slop" or for more serious purposes such as deepfakes or spreading misinformation. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? I tend to remind myself (more than a few times) why I started all of this in the first place, to tell stories and to create connec- tions. When things get tough, I either re- visit past works or watch something that moved me to remember what theatre can do. I also try to slow down and focus on small crea- tive acts such as reading, improvising, or observing life around me. Inspiration often returns when I stop forcing it and let curiosity lead the way. Collaboration also keeps me going, being surrounded by like-minded passionate people reignites that spark even when motivation dips. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? I see theatre as a shared experience and I strongly swear by it, so collaboration and getting the audience's perspective are es- sential. I start from instinct and ask myself what I feel is true or something that I feel is exciting and beneficial to me and then refine it more through discussion and constant feedback. It's a real delicate balance between having a personal vision and collective storytelling. My creative instincts guide the foundation of any project, but I value dialogue and compromise, and I try to achieve this with any project I do, espe- cially if it involves my direct commitment, I believe great work happens when indi- vidual voices meet collective purpose. So, I listen closely, but I also trust my intuition to keep the work authentic. 6. How do you approach a new project? Do you have a specific process or routine you follow? It mostly depends on what the project needs from me. If it stems from a project that I am creating or directing, then that specific project begins with curiosity, a question or emotion, or even a spark of imagination I want to explore. From there, I research, brainstorm more ideas, vis- uals and rhythm, and collaborate early with performers and oth- er collaborators to shape the world of the piece. I like to build from in- stinct first, then refine through rehearsal and experimentation. When it comes to act- ing and approaching a new role, I start by understanding the text, the context, the char- acter's psychology, their physicality and, possibly, the writer's intentions. I then explore how they should move and speak, often through improvisation and by trial-and-error. I treat each process as a discovery rather than a formula. 7. Can you let us in on some of the future projects, works? As of right now I am currently wrapping up with The Full Monty, a production that I, minus the kit off part, will truly miss. After that I will be joining Teatru Manoel's Toi Toi for Snow happening at the end of November, beginning of December and then to George Orwell's 1984 in March 2026, a production I am incredibly excited for, especially since I am a massive fan of George Orwell's novel of the same name and Animal Farm. Then sometime in June 2026, I will hopefully be directing a small co-written project with a dear friend and colleague of mine for a local festival, provided all goes well in the application process. With regards to other projects, I am al- ways an open book and ready to work and collaborate with anyone who approach- es me, but I also wish to reinvigorate dormant projects and collaborations, maybe even a collective, that may have been put on the back burner for far too long now! maltatoday | SUNDAY • 2 NOVEMBER 2025 CULTURE Haunted hospital at Esplora PAGE 2 CULTURE Maltese comedian Steve Hili embarks on European tour PAGE 3 ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A BRENDON THEARLE 7 questions for... Extra round What's the most memorable or transformative role you've played, and what did you learn from it? I was going to cheat and mention The Full Monty again, but looking back, every opportunity I've had over the years taught me some- thing new, which then took me back to my first directorial debut in 2019 with Pandora. It stood out as particularly transformative, not just as an actor, but as a director. Thanks to Pandora and the theatre collective I co-founded and that (hopefully) will kick back into gear soon, I managed to find my love for directing. Being part of a rocky and unknown (at the time) process that explored a new, authentic, and raw story, managed to deepen my understanding of theatre as both something that can entertain but also something that can edu- cate. From that production to to- day, I still see theatre as a product to entertain and to educate. I see theatre as a piece of cake cut out from this so-called life and placed on a plate, or a stage in this case, wherever that may be, Pandora taught me that and allowed both myself and my colleagues and friends to enter the world of the- atre head-on. I will truly miss that experience and often reminisce on the whole process, watch the archived video from time to time, and feel extremely proud of what we managed to achieve with such stringent limitations. Pandora not only managed to help kickstart my professional career as an artist in 2019, but also that of the whole creative team as well. It also reminded me that transformation isn't just for the characters in the story, but for the artists too. Brendon has been active in the theatre scene since the age of five, performing in a range of productions and has also directed several works whilst also dabbling a bit with film and television. A first-class Honours graduate in theatre from the University of Malta, Brendon continues to explore both performance and direction with passion and versatility. MaltaToday is supported by Arts Council Malta