Issue link: https://maltatoday.uberflip.com/i/313770
27 maltatoday, SUNDAY, 18 MAY 2014 THEATRE TRADE PG 36 ROMAN RUCKUS PG 30 TRICKY TUMERIC PGS 32, 33 Malta Design Week creates a 'micro -nation' As he gears up for its final performance tonight, writer-director Malcolm Galea speaks to TEODOR RELJIC about his latest production, the Maltese-language play Id-Dlam Taħt it-Teatru, a Francis Ebejer award- winning play-within-a-play which brings to life some haunting urban legends about the Manoel Theatre – where Galea's play also happens to be staged What drew you to start working on a story of this particular kind? I've had the idea for Id-Dlam Taħt it-Teatru knocking about at the back of my head for a number of years before I found an opportunity to write it. It was an idea that I really liked and whenever I talked about it with people, their eyes would light up and they'd hit me with a barrage of questions about the char- acters, plot and back- stories that I'd then have to make up answers for. When I became aware of the Francis Ebejer Play- writing Competition (i.e., realised how awesome the prize was) I decided it was time for 'Dlam' to see the light of day. How would you say this particular project differs from your earlier work? My work tends to be quite varied. As soon as I get the hang of some- thing I usually move on and try my hand at some- thing else. Even when I stay with a familiar genre I like to make things a bit more challenging and for example, this year I shall be writing my sixth panto but directing it for the first time. Id-Dlam Taħt it-Teatru is in Maltese and not a broad com- edy – both of which are unusual for me. It's also a high-concept piece that has been developed over a number of years. With commissioned pieces I rarely have that luxury. How did your previous experience 'prepare' you for this project? What did you directly apply to Dlam, from what you've learnt in the past? After a few years writ- ing plays you tend to be- come less precious with your work and more open to ideas that (while may- be not having been part of the original concep- tion of the piece) would improve it. I organised a rehearsed reading last year and, based on the audience's reactions and comments, I tailored the script to flow much more smoothly. Also last summer I attended a Story Works course on screenwriting. Although it doesn't strictly apply to plays, I was working on a rewrite of 'Dlam' at the time and decided to base it around the same principles. The result is a pretty fast and flowing piece. Was there anything intrinsic to the Manoel that directly inspired the story? The piece is essen- tially a love letter to the Manoel Theatre. Pretty much everything about it has got the Manoel all over it. The story itself was inspired by the tun- nels beneath the theatre which contrast so mag- nificently with the Ma- noel that audiences know. Every scene in the play is also based in or around the Manoel Theatre and most of the props and furniture are pieces that have been lying around backstage for a number of years. The art of acting also features prominently in the story as well as the effect (real or imagined) that the Manoel has on those who work there. Your storytelling experience has predominantly been in the English language. What was it like to attempt a play in Maltese? I usually write in Mal- tese for TV and sketch shows like Bla Kondixin while some children's plays of mine – such as The Complete History of Malta (More or Less) – occasionally get a request for a school performance in Maltese. Since none of my plays have been trans- lated to Maltese, we just improvise the translation on the spot. It's great fun and perhaps a little bit insane. 'Dlam' however was the first theatre piece that I wrote completely in Maltese and the only one to date. Although I found writing in Maltese to be a bit slower going than usual, there wasn't a huge difference and I'd happily write more Maltese plays if there was a demand for them. In terms of tone, style as well as subject matter, what would you say the play contributes to the local theatrical scene? Although not exactly a children's play, Id-Dlam taħt it-Teatru is also en- joyable to children and especially teens without being childish or patron- ising. Also, it's written especially for the Manoel Theatre and cannot re- ally be staged anywhere else. Apart from the seven characters in the play the theatre and the darkness mentioned in the play's title are also protagonists. As somebody who subsists on his creative work, what are some of the greatest challenges you face? There's always the temptation to keep do- ing the same thing and make a comfortable liv- ing following the same formula – especially now that I have kids. But so far I've always managed to resist it. For now at least I keep trying to stretch my limits by trying out new things. You know how sometimes you have an awesome idea but you stifle it because you're scared of getting out of your comfort zone and the ever-present possibil- ity of failure? Yeah, that's never been me. The play will be staged at the Manoel Theatre tonight at 19:00. Cast includes Philip Leone- Ganado, Joseph Zammit, Karen Decelis, Naomi Said, Kris Spiteri, Luke Brincat and Andrew Borg Carbott. Tickets are at €15 and €10 for adults; €10 and €5 for children. Students may also use their Culture Card and watch it for free or at a discount. Bookings: 21 246389, bookings@ teatrumanoel.com.mt Last chance to catch the Manoel monster Malta Type Matali Crasset BLITZ The cast of Id-Dlam Taht it-Teatru PHOTOGRAPHY BY JACOB SAMMUT