Issue link: https://maltatoday.uberflip.com/i/841483
maltatoday, SUNDAY, 25 JUNE 2017 31 This Week What was the main reason you wanted to adapt Ovid's Metamorphoses for the stage, and why did you opt for a Maltese adaptation? I love Greek Mythology. I remember when I was at Sixth Form in 1988, I was first exposed to the Greek World through Systems of Knowledge, when we had to study The Odyssey by Homer. I remember read- ing the book and then moving on to read The Iliad, and The Greek Myths by Robert Graves. I just loved them. Ever since involving myself in theatre I have read most Greek plays by Sophocles and Eu- ripedes. In 2011, during my stint as MADC Artistic Director, we produced The Bacchae, which I am very proud of and which I consider one of the best pro- ductions I was involved in, and I sometimes regret not having produced it under the Unifaun banner. But then, it was my job to give MADC the best ideas and that is exactly what I did. Im- mersing myself so deeply into the Greek world of course led me to choose my favourite gods and goddesses. I really love stories about Apollo and Athena, whom I consider my favourite gods. I was particularly taken in by the character of Apollo in particular. So, after looking for more sto- ries on this particular god, I came across Ovid's Metamorphoses. I read it and immediately realised this book would make a great theatre piece. I started adapt- ing it and realised that it would make a better production if it were performed in Maltese. I fin- ished the adaptation and gave it to my friend Trevor Zahra, whom I consider to be the best Maltese writer of all time. He accepted to translate the play and adapt it. I wanted Trevor to do some adap- tation as well as the translation, and he was delighted to do so. I think Greek theatre works better in Maltese. Maybe it is because we are Mediterranean, maybe the fact that Maltese is a Mediter- ranean language brings out the nuances of the Greek drama and subtexts better. Though it certainly enjoys the reputation due to it as a text from the Classical corpus of Ancient Rome, Ovid's long poem is also very visceral, and often merciless. Do you find these qualities to be a good fit for Unifaun in particular? The main character in the play, aside from Apollo is Cupid (Eros). Cupid is the one who ties the sto- ries together. The centre of the play is love in all its forms, colours and shapes. There is passionate love, family love, rape, incest, platonic love . . . you name it, you got it. However, in most cases it is unrequited love and most stories end in tragedy (not all of them, though!) Cupid is usually seen as a mis- chievous cherub, but here he is nasty, he is malicious, he is a rap- ist – he is vindictive. And this sets the tone for the 17 stories we have chosen. Some are well known – Arachne, Apollo and Daphne, Icarus – but some are less known, like The Marriage of Perseus, Salmacis and Hermaphroditus, Tereus and Procne. The stories are graphic and visceral, they are stories that could easily occur in present day. – well, minus the actual metamorphoses, perhaps – but yes, they do reflect society. And Unifaun has always been about producing quality theatre. This is by far the most ambitious project we have ever undertaken. What is exciting you the most as you set about staging this production? First thing that inspired me when writing this adaptation was the idea of fluidity. We live on an island, we are surrounded by water, and yet water hardly ever features on our stage. Metamor- phosis is a fluid phenomenon, as is water. So, most of the action occurs in a pool. The set is a large swimming pool with a small act- ing area around it. Most of the action takes place in the water. I am excited to see how this will work out. I later discovered that another adaptation of Metamor- phoses was created around water. In fact, the Mary Zimmerman adaptation is written around a swimming pool too. I thought this might therefore be a good idea. Obviously, our production is different. The stories are dif- ferent. Our set was designed by Romualdo Moretti – who always designs our sets. Another thing I agreed with co-directors Stephen Oliver and Dominic Said was that we should audition for the cast. And auditions brought along some fantastic and talented new faces who are giving rehearsals their all. The cast features Jamie Cardo- na as Cupid, then Clayton Mal- lia, Clint Chircop, Karl Schembri, Ryan Cutajar, Stephen Mint- off, Magda van Kuilenburg, Sa- rah Amato, Lydia Portelli, Julia Camilleri and Michela Farrugia. We will also be having live orig- inal music composed by Mario Sammut and Francesco Sultana. Obviously, such a production requires a competent organiser and we have that in Cathy Law- lor. Nicole Cuschieri on the other hand is taking care of props and costumes. So we have a great team. The Arts Council and Mal- ta International Arts Festival have supported us too, and so every- thing is in place for a great show. This is definitely a spectacle un- like any other and absolutely the most ambitious project we have ever undertaken. Metamorfosi will be staged at Fort St Elmo, Valletta on July 10 and 11. The production forms part of the Malta International Arts Festival. Bookings: http:// m a l t a a r t s f e s t i v a l . o r g / e v e n t / unifaun-theatre-productions-il- metamorfosi-ta-ovidju/ The fluid, violent stream of life TEODOR RELJIC speaks to Unifaun Theatre founder Adrian Buckle about the company's upcoming production Metamorfosi – which adapts Ovid's classic long poem through a Maltese-language script by Trevor Zahra, and which promises to be the 'most ambitious' project Unifaun have ever undertaken Poking at dormant desires and fears Renowned and prolific author Trevor Zahra sheds some light on the process of adapting Ovid's work in Maltese, and why he keeps coming back to Unifaun Ovid in Maltese "Adrian Buckle's English ad- aptation was the basis upon which I structured my Mal- tese version. After reading the play I made some research into the original Greek myths, not only to consult the source of stories, but also to assimi- late the flavour of the narra- tive. I was enamoured by the poetic mood of the tales which add beauty and magic to the work." Enduring appeal "Athough these myths are interlaced with a whole spec- trum of perversities (rape, incest, patricide and so on), I believe that they probe into man's dormant desires and fears. They give voice to that which is normally "unsaid"; to yearnings that are kept restrained, to dreams that dreamers are ashamed of. As American cartoonist Jay Nor- wood Darling had said: "After all, civilization is only skin deep!" These myths transcend the ephemeral bounderies of space and time. They're al- ways relevant; ever challeng- ing ... and above all, most in- triguing." The Unifaun connection My first collaboration with Unifaun goes back to 2008 when Unifaun produced Minn Wara Ż-Żipp ... a play that was staged again later that same year and again in 2014. Then, Unifaun revived my play: Is- Surmast (2009) a play that was initially staged in 1994; Ritratti Sepja (2010); Il-Ħajja Sigrieta tan-Nanna Ġenoveffa (2013); and last March Uni- faun produced Il-Mitt Fehma tal-Kavallier John Giordimai- na. I love working with Unifaun because they give me ample elbow room. When collabo- rating with Unifaun I always feel we were on the same wavelength. I believe that this atmosphere will be quite evi- dent in Metamorfosi, where the original script and its ad- aptation are presented as one whole solid narration. Trevor Zahra Adrian Buckle Jamie Cardona (top right), Michela Farrugia, Magda van Kuilenburg and Sarah Amato