Issue link: https://maltatoday.uberflip.com/i/618165
maltatoday, SUNDAY, 20 DECEMBER 2015 35 This Week This Week Dame good at it Actor EDWARD MERCIECA, who will be playing the fabulous part of the Dame in FM Theatre's 2015 panto Robin Hood and the Babes in the Woods, sits down with Iggy Fenech for a snappy Q&A. IT was 1998 when Edward Mercieca founded FM Theatre Productions along with his wife, Marika. Since then, the company has produced over 20 productions, ranging from musicals to straight plays to panto- mimes; and it's even taught some 8,000 students through its Stage- coach Theatre Arts School. Of course, Edward has since be- come a household name in the in- dustry, and his 30-plus years' expe- rience in theatre shines through in everything he does. Yet the role of the Dame in the many pantos he's been in, remain his best-loved, at least, among many audience mem- bers. I haven't known Ed for long – in fact, I didn't even know that he's a 'Newcastle supporter and loves a bit of cricket on his days off', as his official bio states – but I've known him long enough to know that he is spectacularly talented and hilarious! So I will leave his words to truly capture the essence of his charac- ter. Edward… How did you get into acting? I had just got back from studying in the UK in 1984 when I met this girl at a mutual friend's birthday bash. After that, we started dating. At the time, this girl was playing the principal girl in the MADC panto Mother Goose. So I signed up as a stage hand, got the bug and the rest, as they say, is history. Oh, that girl's name? Marika Fenech, of course! How did you become a Dame? I remember my first panto role was as a chorus boy in Robinson Crusoe in 1985. The director, Jon Rosser, told me I would play Dame before long and he was right; the following year I played the villain Benjamin Black in Goldilocks and The Three Bears and, the one af- ter that, I played my first Dame in Sleeping Beauty. On top of being the Dame, you're also the producer. Why did you decide to take up both roles? Well, seeing as I'm producing it, I might as well be in it… Plus, I know the director! And how is the director treat- ing you? Like crap… But that's what I love about Chris! What can you tell us about rehearsals? How's the process going? There are a lot of them and they are very tiring! But, as one can imagine, they're a lot of fun, too. Who's your designer? And what can you tell us about the process of turning a drawing into a show-stopping dress? Our main costume consultant is Denise Mulholland and, togeth- er with our specialist costume designer and maker, Noel Zarb, they come up with the goodies! Of course with a healthy dose of Chris Gatt on the side, as well. What do you think of the oth- er characters? I like all the characters, actu- ally. You see, in panto, it's not what's on the page that counts but who the person playing the part is. I wrote the script and, as I always do, I write for the per- son who is playing the role. In other words, the character I cre- ate has a lot of the actor who is playing the role in it. Do you have any role models in acting? Not really, but I have my fa- vourite actors, of course. I ab- solutely love Judi Dench, Bill Nighy, Eric Morecambe, Ron- nie Barker, Denzel Washington, Robin Williams, Dustin Hoff- man, Ian McKellen and Patrick Stewart best. Why should people come see Robin Hood and the Babes in the Wood? Because it's Christmas and everyone should go and watch panto… And because it's at the Manoel Theatre, one of the most beautiful theatres in the world. It's cosy and intimate and it's just perfect for our totally crazy, zany, hilarious, show-stopping, traditional pantomime that will have you laughing your heads off. Robin Hood and the Babes in the Wood will take place at the Manoel Theatre in Valletta over the Christmas period. It will be performed on 22, 23, 26, 27, 28, 29 and 30 December 2015, and again between 2 and 4 January 2016, at both 3pm and 8pm. Tickets cost between €18.50 and €27.50 and can be purchased from http://www.teatrumanoel. com.mt/ In panto, it's not what's on the page that counts but who the person playing the part is music and art to coin a term that could pos- sibly say something about us. It is 'rock' for obvious reasons. The 'metaphysical' element has more to do with the subjects I chose to subtly dwell with in my lyrics; themes such as time, change, identity, God, being and tran- scendence. I tend to understand that my experiences of the natural world serve me as some kind of step stool to disclose, or at least question, an immaterial world and a personal creator. This of course all has to do with the fact that I'm a philosophy student and have metaphysics quite dear to my heart. But, of course, our songs are no lectures. They are simply meant to instil some con- templation and hopefully arouse some emotions too. You've collaborated with poets and writers in the past - and with this particular launch you'll also be incorporating the contribution of a PhD student in Philosophy. What kind of dimension would you say these contributions add to your mu- sic, and vice-versa? During the process of 'Għera' I wasn't only reflecting upon our new songs but also on our per- formances and events. It had become quite standard to have a supporting band or a deejay on the night. But I've started to become a bit sceptical as to how one actually supports the other. My experience is that most of the time it's two or three sepa- rate concerts and/or a separate party in one night. Of course it's fun, economical and it helps with exposure – keep doing it by all means! I just felt that my band should explore what the idea of 'supporting acts' re- ally entails and have a different take. I wanted to have a go at an interdisciplinary approach. By collaborating with poets, writers and students (and in the future I intend to involve other circles) I believe that a genuine engage- ment and support between the different artistic and intellectu- al spheres is very rewarding. For our next concert, I've introduced a PhD philosophy student, Kurt Borg, who will be sharing his own philosophical thoughts on our lyrical approach. What's fun and fruitful is that we actually meet with these collaborators numerous times prior to the event and we exchange ideas during endless chats. This has proven to be much more fulfill- ing for us on numerous levels. But, apart from our gain, I also think that the audience craves new bridges between the music and art scenes. What do you make of the Maltese musical scene? What would you change about it? Well, it's surely alive and kick- ing hard these past few years. We've witnessed loads of tal- ented new artists recently and seen some great albums popping up. It's pretty obvious we have venue problems and that direct- ly affects both the musician and spectator. I don't know what I'd change to be honest. I just want to focus on doing my part really well by delivering the best pos- sible product and maybe inspire others along the way. What's next for you? Start recording our second al- bum in 2016! Frontman Robert Farrugia