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1. What's been the most defining moment in your career so far? While it is difficult to identify one moment in particular, I do think that if I had to try and point out a particularly special one, it would be my debut at Teatru Manoel in 1998 in the play Il Sindaco di Rione Sanità (Is-Sindku) by Teatru Jien, Int u l-Ohrajn. Walking onto that stage was a very important moment for me, because Tea- tru Manoel has always represented something very special in Malta's theatrical history. However, I cannot forget my debut on a na- tional level with Il Campiello by Maleth in 1996, which was another important milestone in my development as an actor. Then, in January 1999, came the opportunity to play Romeo in Romeo and Juliet at Teatru Manoel, thanks to Mario Micallef's Talenti. That was an experience I will always treasure. But it is the accumulation of opportunities, people, productions and challenges that have shaped me. Every pro- duction taught me something, every director challenged me in a different way, and every character left something behind. 2. As a creative, how do you navigate the world and speed of social media? Social media is both a blessing and a challenge for anyone working in the creative industries. It has completely changed the way we communi- cate with audiences. Today, an actor, director or theatre company can promote a production, share an idea or reach an audience almost in- stantly. That accessibility is incredibly valuable, particularly for smaller artistic communities like Malta's. At the same time, I think we have to be careful not to allow the speed of social media to dictate the speed of our creativity. Not everything has to happen immediately. Good theatre, good writing and good art still need time to breathe, develop and mature. I also try to distinguish between creating something because I genuinely believe in it and creat- ing something simply because I think it will perform well online. The two can sometimes coincide, but they shouldn't be confused. For me, social media is primarily a tool for communication and connection. I use it to share work, promote productions, celebrate colleagues and students, and hopefully encourage people to engage with the arts. But I don't want my artistic value to be measured by likes, views or shares. An audience sitting quietly in a theatre and being genuinely moved by something I have helped create is still, for me, far more meaningful than any number on a screen. 3. Do you consider artificial intelligence a threat to your career, or an opportunity? I think it is both, and that is precisely why we need to approach it intelligently. Artificial intelligence is developing at an extraordinary speed, and there are certainly areas of the creative industries where it could potentially threaten jobs and undermine the value placed on human creativity. But I don't believe AI can replace the fundamental reason why we create art. Theatre, acting, writing and directing are ultimately about human experience. They are about emotion, vulnerability, observation, rela- tionships and the ability to communicate some- thing that another human being recognises within themselves. I therefore prefer to see AI as a tool rather than as a replacement for the artist. It can help us research, organise ideas, explore possibilities and sometimes even over- come the dreaded blank page. But the creative decision still needs to come from the human being. As an educator, I also think we have a responsibility to teach young creatives how to use these technologies responsibly rather than simply fear them. We need to understand their possibilities, but also their limitations and ethical implications. The danger isn't necessar- ily AI itself. The danger is what happens when we stop valuing originality, human judgement and genuine artistic expression. If we retain those things, AI can become another tool in the artist's toolbox rather than the artist's replace- ment. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? I think motivation changes as you get older. When I was younger, motivation often came from ambition—wanting to prove myself, want- ing to get the next role, the next production or the next opportunity. Today, I think it comes much more from the need to create and com- municate something meaningful. There are certainly difficult periods. Anyone who works in the arts knows that rejection, disappointment, financial limitations and projects that don't work out are part of the territory. There are also moments when you question whether the enormous amount of work is worth it. What keeps me going is curiosity. I still get excited by an idea. I can still read a script, hear a piece of music or see something on stage and think, I want to do that. That feeling is very powerful. Teaching has also become an important source of inspiration for me. Working with young people reminds me why the arts matter in the first place. Seeing someone discover their confidence, find their voice or experience that moment when something suddenly clicks can be incredibly rewarding. Ultimately, I think you have to accept that not every project will be easy and not every project will succeed. But as long as you still have something you want to say, there is a reason to continue. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? I believe collaboration is at the heart of theatre, but collaboration doesn't mean abandoning your own artistic voice. It means being willing to listen. When I approach a project, I have my own instincts and ideas, but I also recognise that a director, actor, designer, writer or producer may see something that I don't. Some of the best artistic decisions I've made have come from conversations or disagreements with other people. The audience is also an important part of the equation. Theatre is a live relationship between performer and audience, so I never believe that we should create in complete isolation from the people who are ultimately going to experience the work. How- ever, I don't believe we should simply give an audience what we think they want either. Sometimes the role of an artist is to challenge the audience, surprise them or even make them uncomfortable. I suppose the balance comes from knowing what is negotiable and what isn't. I am happy to listen, rethink and adapt when it serves the work. But there are certain things I believe in artistically and I have learned, over the years, that you also have to be prepared to defend those convictions. 6. How do you approach a new project? Do you have a specific process or routine you follow? It usually begins with a question, an image or an idea that refuses to leave me alone. Sometimes it is a story I want to tell; some- times it is a character; sometimes it is simply something happening around me that makes me think, there must be a story here. I tend to research quite extensively before committing myself fully to a project. I want to understand the world of the story, the characters and, where relevant, the historical or social context. I also like to let an idea develop rather than rushing immediately into writing. Once I begin, however, discipline becomes very important. Inspiration is wonderful, but you cannot depend on inspiration turning up every day. There are days when you simply have to sit down and do the work. I also tend to think visually because of my background in theatre and film. I imagine spaces, movement, rhythm and the relationship between characters rather than thinking only in terms of words on a page. Perhaps the most important part of my process is that I allow myself to rewrite. The first idea is rarely the final idea. 7. Can you let us in on some of the future projects, works? There is quite a lot happening at the moment, particularly in theatre. My immediate focus is The Dumb Waiter by Harold Pinter, which I am currently performing with Andy Catania. It is especially meaningful to me because it marks the first production of PWF Theatre Company. Plays With Friends is a company we have estab- lished with the intention of creating interesting, quality theatre and giving artists the opportu- nity to work together. Returning to the stage in this way has been both exciting and challeng- ing, particularly after spending so much of my career directing, teaching and working on projects behind the scenes. Looking ahead to February and March, I will also be involved in Veru Alla u Veru Bniedem, another project I am particularly excited about. It is always rewarding to move from one theatrical world into another and explore different characters, themes and ways of telling a story. Another important milestone will be the 20th anniversary of Il-Mixja. Being associated with this production for two decades is something I feel particularly proud of. Alongside these projects, I continue developing several ideas for theatre, film and television. Some are still at an early stage, so I would rather not reveal too much yet! maltatoday | SUNDAY • 11 OCTOBER 2026 Theatre Everybody's Talking About Jamie cast talks courage, community and being yourself ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A ALAN FENECH 7 questions for... Extra round What's the most memorable or transform- ative role you've played, and what did you learn from it? It is difficult to choose one role because different characters have marked different stages of my life and career. Playing Fred- erick Clegg in The Collector was certainly one of the most challenging experiences I have had as an actor. It forced me to explore a deeply disturbing character and taught me that acting is not about judging a character, but about understanding what makes that character behave the way he does. Another role that has had an enormous impact on me is Jesus, whom I have played for 22 years. Returning to the same character over such a long period has been a unique experience. The role has changed as I have changed, and every year I discover something different in it. It has taught me that a character is never really finished; our own life experiences inevitably influence how we understand and portray them. Alan Fenech is an actor, writer and director with over 30 years of experience in theatre, film and television. He holds degrees in theatre studies, journalism and film studies from the University of Malta and trained in acting at MTADA. His work includes the award-winning Scrooge, Erwieħ Imsakkra II, Apostolo Gentivm and Malta's first opera film, Blat: The Island Fortress. He is Head of School at the Malta School of Drama and Dance, and founder and director of the Malta International Theatre Theatre Tyrone Grima speaks to MaltaToday about his latest production The Deep Blue Sea (Il-Bahar Ikhal Skur) PAGE 2 PAGE 3 MaltaToday is supported by Arts Council Malta