That an original play in Maltese is produced at the Manoel Theatre is news. That this same play is tackled differently, and presented on stage just a few days afterwards in a village theatre is unheard of.

But that is exactly what will happen this weekend as Caravaggio: L-Inkjesta travels to Gharghur.

I met producer Martin Gauci at the village hall and was taken aback by the place. He offered black coffee but I challenged him at once by stating that one could hardly describe the hall as a theatre.

He smiled and stated that a metamorphosis has been taking place. He emphasized that this same hall will be truly transformed into a theatre but of a different kind … one that is adapted to this particular production and for a particular type of audience which was nurtured for over the last 35 years by the Dwal Godda Theatre Group.

How did the idea of Caravaggio - L-Inkjesta at Gharghur first crop up?

“Last May two actors from our group group participated in a new production of Il-Weghda (music by Maestro Charles Camilleri, libretto by Profs. Joe Friggieri) directed by Joe Friggieri. Friggieri suggested that Dwal Godda actors could act in some of the scenes of his next production at the Manoel. The proposal seemed appealing – as was the subject matter of the play. Without even seeing the first draft of the play, Gauci accepted but asked Friggieri to give him permission to produce the same play in a different version at Gharghur, acted solely by the Dwal Godda actors.

What about the logistics of such a project?

“Dwal Godda Group built a vast stage at Gharghur which incorporates in it the acting area at the Manoel Theatre where the Gharghur actors were to enact their scenes. Rehearsals started with urgency in late August on two levels: those for the scenes at the Manoel and those for the Gharghur production. All the groundwork was ready when those actors who were taking part at the Manoel joined the other well-known actors for the Manoel production. In the meantime rehearsals continued earnestly at Gharghur for the rest of the play.

The production at the Manoel was fully booked and a huge success.

The scenes which the Dwal Godda actors enacted at the Manoel were difficult ones and included a delicate sword fight. It can be said that their performance was quite professional. After the Manoel production, all the energy of the Dwal Godda actors was channelled on a single track. They felt the responsibility on their shoulders because they wanted their production to be different but as slick, appealing and of as high a level as that at the Manoel.

Martin insists that the Gharghur production is absolutely not a photo-copy of the one at the Manoel. Some aspects are looked at from a different angle and given a different perspective keeping in mind the actors involved and catering for a wider spectrum in the audience.”

What about the play itself?

“A minister appoints a committee to study if it is a good idea to erect a monument to Caravaggio. The play supersedes the limits of time and space and a number of persons from the past are called to testify or give their view about the painter’s times, life and works. The painter himself comes in uninvited and most probably leaves the audience perplexed whether he is truly a genius or just arrogant. His life and art are discussed in detail but in the end the minister is weaker and not wiser while a hapless member of the commission is left dreaming of seeing Caravaggio among the angels. All the cards are put on the table of the audience as it senses it is taking part in the play by being dragged to decide for itself about the monument.”

How would you describe your audience?

“One that has a thirst for an authentic theatre. Most of those who attend Dwal Godda productions do not attend mainstream theatre but show deep interest and apprectiation when presented with a sincere effort to put up a difficult production in a place close to home - even if this production or play is not common or run-of-the-mill. We try to project a type of energy to show that we are giving our 100% so that certain limitations can be overcome. Our type of acting may be judged by some as raw by professional standards but it is hoped that the sincerity of our effort shines on D-day.” Martin did not want to elaborate on this but goes at a tangent.

“We want our audience to appreciate the beauty (with a capital B) of the Maltese language; and when this is left in the capable hands of a serious writer and takled seriously by actors, it touches the heart and minds of everyone - just as much as other languages”.

He insists that words do not suffice. He smiles quoting the bible: ‘Come and see’ and judge for yourself. ‘But please do not judge us too harshly. The obstacles we had before us were enormous, but our imput has been tremendous: full of blood, sweat and tears. Since the buzz words are not ‘more of the same’ but ‘what new challenges’, the sea is never calm.”

What is the aim behind all this?

“We are convinced that we can be up to producing a ‘difficult’ but very interesting and challenging play such as Caravaggio: L-Injesta.

The beauty of theatre has to be within reach of everyone, without expecting everyone to flock to the Manoel, St James Cavalier, the MITP, the MCC or whatever.”

CARAVAGGIO: L-INKJESTA in 2 acts by Joe Friggieri, produced by Dwal Godda Theatre Group at the Gharghur Theatre today at 7.30 pm tomorrow at 6.30 pm