MARIO PHILIP AZZOPARDI’s play Sulari Fuq Strada Stretta, banned 30 years ago, it will be staged at the Manoel Theatre in the last weekend of January. The director tells Maria Giuliana Fenech that Maltese theatre should aim to entertain and provoke discussion
Mario Philip Azzopardi is back in Malta. His play, Sulari fuq Strada Stretta, famously banned in 1977 is finally going to be produced at and by the very theatre from which it was banned – the Manoel. Mr Azzopardi explained that the banning of his play gave him the impetus to up and leave. He said: “The play was ready, everything had been secured and prepared when suddenly, six weeks before opening night, I was informed that my play will not be performed! No official reason was ever actually given. Instead the authorities at the theatre said that we hadn’t given in our censorship papers on time. This was a poor and weak excuse. The Atturi Theatre Group had produced other plays at the Manoel and we usually gave in our censorship papers merely days before opening night. I know of productions where censorship papers were actually given after the play was performed!! It must have been something else.
“The play Sulari fuq Strada Stretta is a satire. It pulls down the three pillars of Maltese taboo – politics, sex and religion. In Malta, in order for a friendship to survive one should not discuss these three anathemas.” Mr Azzopardi continued: “Satire has always been my passion. Sulari fuq strada Stretta is a very satirical play – it is very tongue in cheek; I do not believe there is any bitterness in it. It portrays the usual angry young man and is a celebration of idiosyncrasies. Nihilism, destroying something for destruction’s sake: that is not my style. I prefer to poke fun at the establishment.”
But what of this controversial play written in the 70s? Mr Azzopardi says, “Socialist times in Malta were not happy times – and I believe that this was so both for the Partit Nazzjonalista and the Malta Labour party. Some people must have read my play and not liked it so they found ways and means to stop it. When my play was banned, there were no protests, no angry letters to newspapers – nothing, no support whatsoever. Everybody was afraid of repercussions. People would actually tell me that they supported me but they could not be seen speaking to me in the public. I sued the Manoel Theatre and the censor’s office. I also protested against the Education Ministry. Next, a TV production I was involved in got re-cast and a bureaucratic mistake messed up my father’s pension. Subtle messages followed, trying to convince me to suspend the suit. A year and a half later, my case actually came to court. The judge dismissed the case in 10 minutes flat. I couldn’t believe that these things could happen. Months later we left for Canada and my father’s pension was reinstated fully.
“The play Sulari fuq Strada Stretta takes place in an old palace in Valletta a few days before the outbreak of World War II. Three people, two sisters and a brother live together on the top floor of this old palazzo. They are very strange, very old and representations of the aforementioned three pillars of Maltese taboo. They are the last members of an old aristocratic family and they live in separate rooms. Into their life gallops a young man from Strada Stretta, then in its heyday.
“The first sister is 80+ and blind. She is being inspired to write the third Testament of the Holy Bible and thus save Malta from impending doom. She is dictating this testament to this young chap. The second, equally old sister believes she is an agent of Benito Mussolini. She is very pro-Italy; she detests the British and wants them out of the country. In addition, she is expecting Il Duce to arrive any day. The young man makes her believe that he too is an agent of Mussolini and is in contact with him.
“Finally there is the brother. He is a defrocked monsignor with a taste for young flesh. The young man becomes his toy boy.
“However, this street-wise young man had a hidden agenda. He is trying to get rid of these old people in order to inherit the top floor and be able to turn it into the best whorehouse in the Mediterranean.
“Today, the censors gave us an 18+ certificate and the Manoel theatre is being highly cooperative, although unfortunately the play will only run for three nights. The artists involved, John Suda as the monsignor, Monica Attard as the “inspired” sister and Ninette Micallef as the Mussolini devotee are all involved in taking up their challenging roles. In addition, Sean Buhagiar as the young man from Strada Stretta, is the tour de force. He has to play four different roles - one character per sibling and his own person. The supporting actors are all very dedicated.
“I hope that anyone who really respects and wants to support Maltese theatre, who wants to see great and talented Maltese artists in action should come watch the play. The themes are quintessentially Maltese, it is obviously in Maltese and can only be appreciated by us, the 400,000 Maltese inhabitants!
“I actually like the fact that this play is not international. In Canada, my work is for the international market. But the Maltese character is burnt onto me. I feel a great sense of freedom in trying to create something which can be expressed only in the Maltese language and address primarily the Maltese soul, without caring whether or not it makes sense to the foreigner.
“I am very grateful for the 30 years I spent in Canada and North America. However, I am very happy to have this great opportunity to visit the island again through the graces of Judy Farrugia at the Manoel theatre and Lino Farrugia, who is producing the play. I am now already planning my next play Ix-Xitan Kunjomu Malti. This play takes the mickey out of being Maltese. I think that it is very important to laugh at oneself. The Maltese people have a tendency to take themselves too seriously. Yet, these very idiosyncrasies have given us the power to survive on an island with no natural resources and against many odds.”
When asked about the dwindling theatre attendance, Mr Azzopardi replied: “It is a pity. Art and music seem to be supported however Maltese theatre is languishing. There seems to be a culture shift. There is an absence of a giant like Francis Ebejer, who had the power to crystallise and empower Maltese theatre. I definitely do not have the audacity to say that Sulari Fuq Strada Stretta is the solution. The solution is made up of more than one play. I want the Maltese theatre to entertain, offend … once more provoke discussion. We have to stop being boring, stop watching TV all the time and allow ourselves to be jolted a little out of our static compliance! This is even more so as television, nowadays, instead of an artistic venue, has become an arid cultural desert worldwide. In the same way we do not accept open sexual pornography on our screens we cannot accept intellectual pornography.
“Today Maltese theatre performances run for only three nights (The play will be staged at the Manoel Theatre on 25, 26 and 27 January). Atturi Group Productions used to have performances, which ran for nine nights. And attendance was good. I also do not understand why companies insist on producing so much theatre in English.”
Clearly, being born in Malta is an integral part of Mr Azzopardi’s character. He explained: “It’s true, living away might make me view things differently. Yes, I’ve lived in Los Angeles, in London, in Canada on both coasts, in the Soviet Union and in France – all of which are amazing places. When I was born in Malta I was baptised into a culture which binds me for life. The branding is special and spurs me on. Some time ago, in an article on The Times of Malta I was described as a ‘Maltese-born Canadian director’. I protested this epithet. I am not merely ‘Maltese-born’. I am Maltese. I hold a Maltese passport. I am a Maltese director who happens to live in Canada. I am proud, blessed and cursed with this brand. I still speak Maltese regularly, my children if not particularly fluent, can understand the language. The blood of Mikiel Anton Vassalli to whom I related still flows in my veins. Being Maltese allows us to speak three languages – Maltese, English and Italian. We seem to be natural polyglots. In the US, bilingualism is so rare.”
Mr Azzopardi also commented about the recent Maltese film offerings – Angli, Qerq and Bawxati¸ among others. “I take my hat off for these people who try to make a movie. I know how hard it is to get the funds to make a film. They should be encouraged. We should give Maltese films a chance; with time the quality will improve.”
So is there any hope for a Maltese film industry? Mr Azzopardi said: “From my experience with Maltese Falcon Productions, I know that road is long and winding. Maltese Falcon Productions was 14 years of heartbreak that went sour due to the lack of understanding from the political sector. There needs to be a dedicated group of people who understand the concept and internationality of the business and adapts it to suit a Maltese reality. I tried and failed, maybe because I did not live here. I honestly believe there is great potential, and I am not talking here about the film service industry. That is essential. It brings money into the country and is a multi-faceted opportunity. If however we want to have control and shape the film made here then one enters into a totally different sphere of thinking, planning and understanding. I know it is possible, we should not be disheartened.”
Mr Azzopardi rounded it all up with: “ Rather than a teacher or curator I’d rather be known as a story-teller. I do not adhere to a list of rules and I fear being considered as some sort of messenger. Instead I’d rather be remembered as an entertainer. I think the most important thing to remember is to remain true to yourself and realising that failures come part and parcel with successes. I’d like to add that a society with no artists has no soul. Artists are like frames that go round pictures, encapsulating thoughts, dreams and fears. If you do away with them you do so at your own peril. It tends to get very dark without them. They have to be nourished and tended to. Just like education and health the culture of a people is a human right and cannot just be considered as a profit driven enterprise. That idea has grave consequences. Look around you.”