Issue link: https://maltatoday.uberflip.com/i/1543384
1. What's been the most defining moment in your career so far? I feel as though my career in theatre is still in its early stages. I have so much more to learn and so many things I want to accomplish. However, one of the most defining was the first time I directed a play. It was Brainstorm, produced by Masquerade. I had been a student at Masquerade for many years and, up until that point, being "involved in theatre" meant performing, teaching and occasionally writing or devising. Directing was something I had always wanted to do, but I had never actually done it. Anthony Bezzina believed in me and gave me that chance. I remember the dress rehearsal vividly. Tony sat next to me on the balcony at BlueBox and, just before it started, he said: "You've done your work. You're redundant now. It's in the actors' hands." That moment shifted something in me. Watching the show come together, seeing the actors take ownership of what we had built, gave me an adrenaline rush like no other. It was terrifying and exhilarating all at once. From that point onwards, my focus began to shift more towards directing and writing rather than performing. 2. As an artist, how do you navigate the world and speed of social media? I'll be honest; I'm quite hopeless with social media. My best way of navigating it has been through my youth theatre groups. They keep me up to date with what's what and what's trending. I'm constantly learning from them, and I love that the exchange goes both ways: I teach them, and they also teach me. That said, I do think social media is incredibly important for the arts. It has become one of the main ways we connect with audiences, build anticipation, and make theatre feel accessible. It allows us to document the creative process, celebrate the people involved, and reach audiences who might not traditionally walk into a theatre space. While I'm not the most fluent in the language of algorithms and trends, I understand its pow- er. For me, the key is authenticity rather than perfection. Social media shouldn't replace the live experience, nothing can... but it can definitely support it. When used well, it helps theatre stay visible, relevant, and connected in a fast-moving world. 3. Do you consider artificial intelligence a threat to your career, or an opportunity? I'm not an avid user of AI. I'm quite old-school when it comes to technology. My instinct is always to start with pen, paper, and conver- sation rather than software. However, once again, thanks to my youth theatre students (they really do educate me!), I've started to see how AI can add value to theatre rather than threaten it. For me, theatre is ultimately about human con- nection, the shared space between actors and audience. That can never be replaced. But AI can be a useful tool. It can help with research, spark ideas, generate visuals, or even support technical aspects of production. Like any tool, it depends on how you use it. I don't see it as a replacement for creativity, but as something that can enhance the creative process if approached thoughtfully. As long as we remember that storytelling is rooted in lived experience and emotion, AI becomes an opportunity rather than a threat. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? I genuinely believe inspiration is everywhere, in the news, in my boys playing, in conversa- tions with my father, laughs with my mother, coffee with a friend, in stress, happiness, and chaos... everywhere. Life feeds creativity in unexpected ways. Sometimes the most mundane moments spark the most interesting ideas. The problem is that we don't always slow down enough to notice it. Life is hectic; we rush from one thing to another. So, I try to find moments of stillness, moments where I can change pace and allow myself to be present. My partner, Fabrizio, helps me do that. He is my calm in the chaos and my number one supporter. He listens, encourages me, pushes me, asks questions, and reminds me that things will come together. Travelling helps too since it gives me the change of pace I need to slow down. I recently worked on a piece with TMYT called The Archive. The idea came while walking through Naples with Fabrizio. Both kids were asleep in their pushchairs, and we just walked and talked, slowly, peacefully, for over an hour. I started thinking about how powerful conversations are and how we need to make more time for them. Then I saw this huge beau- tiful building and said, "That reminds me of an archive." Then I imagined every conversation a person has being "stored/archived" in their brain and shaping them... and that became the seed of the piece. My boys, Sebastian (3) and Maximilian (1 and a half), also inspire me constantly. I love creating worlds for children through theatre. Their curiosity reminds me that, whatever age we are, we must keep asking questions and looking at things with wonder. That said, bal- ancing two kids, theatre, and a full-time job in HR is very difficult, and it wouldn't be possible without supportive family, friends, producers, and creative teams. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? My creative process is deeply collaborative. While I usually start with a clear vision in mind, I see that as an outline rather than a fixed blueprint. The real colour and texture come through discussions with the creative team and cast. I spend a lot of time focusing on the meaning of the text and the purpose behind it, what it's really trying to say, and why it matters. I encourage open conversation in rehearsal. I'm always receptive to ideas and suggestions because I believe the strongest productions emerge when everyone feels ownership of the work. Theatre is not created in isolation; it's built through shared exploration, trust, and risk. At the same time, I do hold onto the core of the vision, the emotional spine of the piece. Balancing instinct and expectation is about lis- tening carefully while staying grounded in the story you're trying to tell. I am not interested in pleasing everyone at the cost of clarity, but i am interested in making work that is honest, detailed, and alive. For me it's all about synthesis. The audience's expectations, the collaborators' insights, and my own instincts all inform one another. When that dialogue is curious and respectful, the work becomes richer than anything I could have created alone. 6. How do you approach a new project? Do you have a specific process or routine you follow? I don't have a rigid process, but there is a pattern I've noticed. I read a lot of plays, and sometimes I'll come across one where, after just a few pages, I can close my eyes and see it on stage. That's exactly what happened with 1984. The world, the atmosphere, the physi- cality, it arrived very instinctively. It also scarily feels very relevant to the world we are living in. Music also plays a big role in my process too. I often find a song or piece of music that captures the mood of the production, and that becomes the emotional starting point. From there, I research extensively; context, themes, history, and references that help shape the world of the play. When working on devised or original pieces, I usually begin with a core idea and then talk it through with others, mostly Fabrizio. He asks questions that challenge me and push the concept further. I also always carry post-its with me. My scripts and notebooks are filled with them—fragments of ideas, images, bits of text, questions. It might look chaotic but it's how my brain maps a production. 7. Can you let us in on some of your future projects? I'm currently working on a devised piece with TMYT, which will be staged in October. It's still evolving, which is one of the most exciting parts of devised work... watching ideas take shape through collaboration. I've also recently read two excellent plays that I would love to work on. So, I am hopeful these will materialise into future projects. I am the kind of person who often carries stories around for a while before they find the right moment to be staged. Alongside this, I'm in the early stages of writing two plays—one for children and one for adults. Both are very much in development, but they explore very different worlds and themes, which is creatively energising. Writing is a slower, more introspective process for me compared to directing, but I'm enjoying allowing those ideas the time and space they need to grow. Right now, my main focus is 1984. It's a piece that feels urgent and incredibly relevant. I'm looking forward to audiences experiencing our interpretation of it. maltatoday | SUNDAY • 22 FEBRUARY 2026 THEATRE Michela Farrugia speaks to MaltaToday about her upcoming role in Press Mute as journalist Eliza Vale PAGE 2 ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A PETRA SANT 7 questions for... Extra round What is your process for interpreting a playwright's intent while still mak- ing the production your own? I begin with deep respect for the playwright's text. I spend a lot of time analysing structure, language, rhythm, and subtext. I ask myself: Why this word? Why this pause? Why this moment? Understanding the intent is about listening carefully to what's already there. Once I feel I understand the core message and themes, I then ask how those ideas resonate today. How do they speak to our audience now? That's where interpretation begins. I am interested in making the work feel immediate, not like something pre- served behind glass, but something alive and urgent. Petra Sant is a director and writer who has been involved in the arts since the age of 10, beginning as a student at Masquerade before becoming a member, teacher, and tutor with TMYT. Alongside her theatre work, she is head of HR at a bank and a mother of two, balancing creativity with leadership and family life. I am currently directing Robert Icke and Duncan Macmillian's adaptation of George Orwell's 1984. This production is part of the Manoel Theatre's TOI TOI Classics and is being staged between 6 and 8 March, and 14 and 15 March. CULTURE Entry Denied, a satellite event of the Malta Biennale PAGE 3 MaltaToday is supported by Arts Council Malta