Issue link: https://maltatoday.uberflip.com/i/567101
maltatoday, SUNDAY, 6 SEPTEMBER 2015 This Week 31 reflect the journey that is portrayed in this production. Furthermore, they are some of the most reflective and striking elements in flamenco, today. Why do you think flamenco is so popular among the Maltese? I believe that flamenco has in- creased in its popularity over the past few years. Even though flamen- co is mainly associated with Spain, over the past few years, Flamenco has been undergoing an evolution- ary path. This stems from the fact that flamenco is being performed in the international dance festivals all around the world and the larger dance companies are touring their productions on a global scale. Moreover, flamenco is honoured with being an example of intan- gible world cultural heritage by UNESCO. Flamenco is a passionate art, and although is associated with Spain, its main significant 'hub' is the southern region of Andalucia. Its Mediterranean culture and warmth could be a common fea- ture with Maltese culture, and this could be a reason why flamenco is popular in Malta. However, say- ing this, flamenco has also become extremely popular in Japan. There- fore, this has made me believe that it is flamenco's vibrance, move- ment, passion, colour and depth that has made it such a powerful art; not only the dance, but also the song and music. What do you make of the local dance scene? In general, the local dance scene is flourishing. Quite a number of dancers are studying dance on a professional level and this is the basis for a bright and exciting fu- ture that will give Malta a greater number of successful dancers and artists related to the dance scene. I believe flamenco has still not yet reached a broad audience as con- temporary dance or ballet have, though awareness about flamenco as well as the different forms of Spanish dance is increasing and fla- menco's audience is growing. What's next for you? As the artistic director of Inspira- cion Flamenca, I intend to produce more productions in the future with my company. I aspire to tour with the company abroad, should there by an opportunity to do so. On a final note, I wish to expand Inspiracion Flamenca as far as pos- sible, both from the artistic side in Malta, as well as in collaboration with Spanish artists. poesiaFlamenca will take place at St James Cavalier, Valletta on September 18 and 19 at 20:00. The dancers include Bettina von Brock- dorff, Caroline Caruana, Marisha Bonnici and Robert Scicluna. For more information, contact 2122 3200 or log on to http://www.kreat- tivita.org/event/poesiaflamenca/ The importance of being young When a group of young actors set about rehearsing Oscar Wilde's perennial comedy The Importance of Being Earnest, things get weird, fast. TEODOR RELJIC speaks to British director Andy Smith about his upcoming take on Anthony Horowitz's A Handbag, which he will be directing for Masquerade – marking his 15th year of collaborations with the local theatre school and production company What attracted you to this play in particu- lar and Horowitz in general? A Handbag is a short play (only one hour running time) but is totally fascinating from start to finish. I love the way that the charac- ters slowly reveal themselves – yet we never know their exact circumstances or situation. The play is hilariously funny, yet very dark. I'm sure the audience with find it hysterical, yet might feel a little guilty at laughing. The play focuses on six young people – all in their early 20s – trying to stage a produc- tion of Oscar Wilde's The Importance of Be- ing Earnest. The task seems an impossible one, yet they plod on and, in doing so, allow us to witness the tensions and conflicts, anxi- eties and uncertainties and real fears of each character. I think Horowitz is a hugely talented writer. He is better known as a screenwriter and has received real acclaim in this field. His dialogue is beautifully crafted and he manages to avoid making any of the characters predictable. His weaving together of the themes within The Importance Of Being Earnest and his ac- tual play is remarkable. But bear in mind that you don't have to know The Importance Of Being Earnest to enjoy the play. What would you say is the main tension in this play and how do you intend to bring it out? The main tension is between the six char- acters. There are no moments within the play when any of them really connect and they are constantly at odds with each other. During rehearsals the feeling of tension was tangible. The actors would end each rehearsal with total exhaustion. We hope to create a mood of impending danger. This is constantly bubbling under the surface. The play is not cosy. The play is not comfortable, in fact the contents of this 'Handbag' are far from safe! None of the ac- tors ever have a moment when they can rest within the production. I think that this will drive it. Could you tell us a little about your long- standing relationship with Masquerade and how it has evolved over time? I first collaborated with Masquerade in 2000 to lead their innovative 'Summer Expe- rience'. What struck me was the passion and commitment that both [Masquerade found- ers] Tony and Veronica Bezzina had to the arts. This has now moved in to a new gear with the opening of M.Space and the Blue Box Theatre. You could say I became imme- diately hooked... Since then, I have worked with Masquerade very, very frequently; giv- ing workshops and directing such plays as A Chorus Of Disapproval (Alan Ayckbourn) and The History Boys (Alan Bennett). I like Masquerade's insistence on quality and the importance placed on the value of the individual. Working with Masquerade just feels right... I suppose that's why I've done it for so long! What do you make of the young cast of A Handbag? Have you worked with some of them before and why do you find them suit- able for their assigned roles? In a word... astonishing! And I really do mean that. I work in a way that really analyses the text. We examine, in minute detail, every word spoken in the play. The cast relished this working method and the level of intellec- tual engagement is staggering. On top of this, each actor has developed their character, and brought it to life, in a way that has surpassed my wildest dreams. I have only worked with one member of the cast before on The History Boys, and that is Joseph Zammit. He is a joy to work with, to- tally able, totally professional in everything he does and hugely sensitive. As an 'outsider' who has worked in Malta quite often, what do you make of the lo- cal theatrical scene and what would you change about it? Over 15 years I have seen the emergence of more theatre companies and much more arts activity in general. The arts are vibrant in Malta. While I was rehearsing I had the opportunity to see the brilliant Etnika who performed at Blue Box and... wow! Amazing... something I will never forget. There is a wider variety of work being pre- sented now. Directors and actors are taking more chances and pushing out the limits. Every year there seem more and more pro- ductions being staged. I think M Space is a brilliant addition to the theatre scene in Malta. It reminds me very much of being in London's Donmar Warehouse, which is one of my favourite theatre spaces. If I could change anything it would be find- ing a way of more people seeing theatre and valuing what they have, and realising that much of it is of the very highest quality. Let's hope they come and see A Handbag... it's a start. A Handbag will be staged at M Space, Msi- da on October 2-4 at 20:00 to Andy Smith: "I wish more people would come to see Maltese theatre and start valuing what they have"