First off, why should people watch this show? 

There are numerous reasons why one should watch, first and foremost it's Harold Pinter and you can never go wrong with that, but this time it's in Maltese and translated by Simone Spiteri, which makes it even more exciting. It's got a great cast; Victor Debono, Mark Mifsud, Maria Buckle and  Kurt Castillo to name a few. We're doing something interesting with the Mount Carmel theatre and how we're transforming it for this performance, thanks to our set designer Romualdo Moretti, but I won't say a lot, you'll have to see it for yourself. Finally, the subject matter, as Pinter does not hold back in exploring the themes of corruption, gender dynamics and the power struggle within the hierarchical structure, and presents them within a mundane background to further emphasize this point. But with a play written in the 60s, one must be curious to see how much things have changed since then. We'll leave that to our audiences to ponder.

 

Who is Andre Agius, Teatru Malta's Young Director for 2018? 

I am a freelance Actor, Director and Practitioner from Malta. Having started training as an actor from a young age at a reputable drama school locally, where I was also later taught for three scholastic years. I furthered my studies internationally and have been actively performing and involved within theatre and cultural events on a professional basis, nationally and internationally over the past few years.

 

Is this the first time you're directing a piece in Maltese? 

Yes, this is actually my first time. I had always wanted to perform in Maltese, but directing is just the cherry on the cake. My attitude as a director has always been to remain as  loyal as possible to the original text and explore the themes that Pinter in this case wanted us to explore and think about. It's interesting because I remember reading a first draft of Is Serra and thinking to myself how much the text lends itself to the Maltese language, it flowed so naturally! Of course, as Simone Spiteri reminded me, our mother tongue will always be our mother tongue, but opting to translate a classic comes with its own risks, a very worthwhile one in my opinion; but the audiences will be the final judge of that.

 

Could you describe your take on Pinter and the lead up to the production? 

The first time Teatru Malta called me in for a meeting and discussed the possibility of staging a Pinter at the Mount Carmel Theatre, I sort of tensed up. After directing Skylight in October, I was eager to get back into the director's chair. The opportunity made me curious, but the prospect challenged me. Pinter is considered to form part of an elite group, both as a playwright and as an absurdist. When I reflected and read up both on Pinter's text and the movement at the time, Pinter was above all a man trying to convey an idea, a feeling, a theme. I didn't need much more time to think I was sold.

It is a coincidence that the recent reports surrounding Mount Carmel, have fallen so parallel to the doings within the performance, but it just points to how relevant Pinter's work remains at any time. My intention is to utilise Mount Carmel Community Theatre as a backdrop for the piece, giving the actors the opportunity to immerse themselves in surroundings similar to those which their characters are trapped in.

 

What made you take the leap from acting to directing? 

Instinct. I blame my instincts. From a very young age I recall being keen on coming up with new ideas and not conforming to what was expected, and relishing in any challenge that came my way.  I would read plays and visualise how they could be staged and performed.  I'd always try to be original and innovative, while retaining my loyalty to the text at hand and its original context. Right now my enthusiasm and passion lies in directing and I intend on embracing that.