Although not the most popular form of entertainment in Malta, theatre has always played a leading role in Maltese cultural heritage. Maltese theatre has a long and chequered history going back to the times of the religious activities organised during the Hagar Qim temples era.
I ask Lino Farrugia, veteran and well-known producer/director/writer about some of his views and perspectives of Maltese theatre, including experiences particularly from the late 1960’s and early 1970’s and also what challenges the future holds for Maltese theatre.
Lino Farrugia has over 50 years experience in theatre and television drama producing, directing and writing. He is currently a popular voice on Campus FM Radio with programmes such as ‘Platea’ and ‘Teatru Miftuh’ giving general information on contemporary living Maltese theatre personalities and history of Maltese theatre. He is also currently translating a French comedy ‘Commes’il en Pleuvait’ by Sebastian Thiery into the Maltese Language.
Maltese theatre – historical background
Historians opine that during the Hagar Qim temples era, theatre may have started off as a spectacular religious rite or ceremony. Archaeological discoveries and architectural remains seem to suggest that rituals were held mainly invoking fertility and abundance of produce. The primitive rituals performed in Malta in honour of the fertility goddess and other gods took on the semblance of a theatrical representation.
Only fragmented and scant information is available on this distant form of theatre but indications strongly suggest sacrificial offering (probably animal offering) to the god or goddess and an organised structure and form of religious activity. This was in many ways similar to the one used in institutionalised religious activities such as in the celebration of the Catholic Mass where a priest concelebrates and the congregation responds. The audience are co-actors in their responses. Similarly, in the Greek classical theatre, one had the prevalence of the religious element where a celebration took place. The rite is a form of theatre in its own right as their lies within the element of theatrical drama behind the whole concept.
Thereafter, not much information is available on theatre in Malta during the Roman occupation of the Islands and during the Arab rule. Theatre developed significantly in Malta to a great extent during the Middle Ages with the reinforcement of Carnival during the Knights. Theatre was still mainly intended for a selective audience which was made up of the Knights and noble classes. For instance, the top floor of some of the large houses of Straight Street (StradaStretta, now Triq id-Dejqa) in Valleta where the ‘piano nobile’ was situated. These rooms served as well as private entertainment area of the Knight or nobleman, and as well as salons.
The influences from the Italian comedy of art ‘Comedia dell’ Arte’ during the Italian Risorgimento helped in the dissemination and popularization of theatre in Maltese towns and villages. This is also asserted by Vicky Ann Cremona in Chapter 3 of Theatrical Events - Borders, Dynamics, Frames (2004) where she gives a short but interesting overview to Maltese theatre. She states that the tradition of theatre was imported by the Knights of St. John of Jerusalem (1530-1798) and that theatre only became popular expression around the mid-19th Century when Malta under British rule was influenced by the arrival of the Italian Risorgimentisti living as exiles on the island who brought with them romantic ideas of culture and nationalism. Following this, theatre in the Maltese language started to develop rapidly.
Through time, local theatre made significant advances and saw the introduction of modes of alternative theatre. Creative freedom, it is said, is the crux to constant development in the practice of any art form. Drama nowadays has moved out into smaller theatres and open-air centres, and has taken on styles and forms that were anathema up to two or three decades ago. It has lived down rigid rules and practices and is freer and more energetic.
Lino Farrugia’s career
In 1969 directed the first play in Maltese for the MADC, the classic, ‘Ir-Raheb’ by Erin Serracino Inglott. In 1972 he presented the Maltese entry for the First Malta International Arts Festival by directing the classic work by the renowned playwright Francis Ebejer ‘Vumbarala Zungare’. (The first time the author allowed another director to direct a play he had written).
In 1976, he directed the first Maltese television serial, ‘F’Bahar Wiehed’ and in 1978, he directed the first television serial by Francis Ebejer, ‘Id Dar tas-Soru’.
In 1979, he was a founder-member and resident-director for the first Maltese repertory company: 5the Atturi Theatre Group, directing the inaugural play at the Phoenicia playhouse, ‘Six Characters in Search of an Author’ by Luigi Pirandello.
Lino Farrugia was also the managing director of Teatru Manoel and Chairman Malta International Arts Festival, both in 1996.
Lino Farrugia, (Born 1947) a leading television and theatre writer/director, started his career as an actor. At University he was one of the promoters of a cycle of avant-garde theatre, where he wrote and appeared in various productions. During this time he was discovered by the leading Maltese playwright/director Francis Ebejer who asked him to take part in his play ‘The Cliffhangers’.
While still at University, Lino Farrugia was offered the post of radio presenter/producer with Rediffusion, a UK-based company. He created various radio shows for the company, presenting programmes in English and Maltese.
After appearing in productions such as ‘Blood Wedding’, ‘Julius Caesar’, ‘The Duchess of Malfi’, ‘The Birds’, ‘Oedipus Rex’ and ‘Yerma’, he was asked to direct for the first time at the Manoel Theatre: the classic play, ‘Ir-Raheb’, by Erin Serracino Inglott. In 1973, he directed the Maltese entry – Francis Ebejer's ‘Vum Barala Zungare’ – at the first Malta International Arts Festival.
In 1976, Lino Farrugia was among the founding members of Atturi Productions, where he was appointed resident artistic director. The company presented eight to ten productions a year, becoming the leading theatre group on the island.
His career carried on in good stead, having directed various pieces by playwrights who included Henrik Ibsen, Alan Ayckbourn, UgoBetti, Eduardo de Filippo, Luigi Pirandello, Tennessee Williams, John Osborne, Georges Feydeau and William Shakespeare.
He was commissioned to create the drama department of the national television station, Television Malta (TVM). The first productions were a series of one-act comedies by Anton Chekhov and Bernarda Alba by Garcia Lorca.
Lino Farrugia initiated the production of the first television series in Malta, directing ‘F'Bahar Wiehed’, by Lino Grech, which ran for 32 episodes. It was a huge success which instigated him into a career of writing and directing a number of television series for the next thirty years, including Wirt – a production for the Ministry of Culture, screened on TVM as part of the festivities commemorating the 25th anniversary of Malta's Independence.
He was commissioned by the Malta Broadcasting Authority to write and direct a television sitcom, Ghaddiil-BiebMiftuh. This was followed by ten other series, most of which were penned by him. One of the highlights of his career was ‘Villa Sunset’ – a television series which ran for 52 episodes and achieved top viewer ratings.
His work in the theatre includes more than 80 productions, as well as musicals, such as TahtTlettSaltniet and Ali Baba. He is renowned for his rendering of Greek classics, having directed ‘Agamemnon’, ‘Women of Trachis’, ‘Medea’, ‘The Clouds’, ‘The Phoenician Women’ and ‘The Bacchae’.
His Shakespearean repertoire includes: ‘Othello’, ‘Julius Caesar’ and ‘The Taming of the Shrew’.
Some other productions included: ‘My Three Angels’, ‘How the Other Half Loves’, ‘Pardon Me Prime Minister’, ‘Agnes of God’, ‘A Man About the House’, ‘The Rose Tattoo’, ‘Who Killed Santa Claus’, ‘Filumena Marturano’, ‘Napoli Milionaria’, ‘The House of Bernarda Alba’, ‘The Entertainer’, ‘Six Characters in Search of an Author’, ‘The Godfather’, ‘Mistress of Novices’, ‘Harvey’, ‘Abelard and Eloise’, ‘John Garbriel Borkman’, ‘Woman in Mind’ and ‘Speed the Plough’.
He wrote and directed the play ‘L-Omm L-Ohra’ at the Manoel Theatre in 1993.
In 1996 Lino Farrugia was appointed Managing Director of the Manoel - the National Theatre and Chairman of the Malta International Arts Festival.
He directed the Greek Classic Drama ‘Il-Fenici’ for a Drama Centre Project, performed at the International Drama Festival in Tunisia.
His production of the Greek classic Drama ‘The Phoenician Women’ was performed for the Evening on Campus at the University campus in 2006.
His latest Television Series, ‘Miskin Mike’ a seven-part satirical comedy was aired on the national television station.
He wrote the play ‘Mor’ in 2008, a psycho thriller which was performed at the St James Theatre at the Centre of Creativity in Valetta.
His production of Il-Bakkanti (The Bacchae) (2008) was performed simultaneously in three languages – English, Italian and Maltese – at Palazzolo, Sicily, for the International Classic Greek Festival, and was performed again in Malta for the EU-sponsored Prisma Project,
In March 2009 he premiered the Play Valerjana – a stage version of the BBC Radio Play 2005 European Award Winner by Vincent Vella, at the Manoel Theatre, the Malta National Theatre
He directed Fakusi, a parable about what Democracy is all about –as the Maltese entry by the Drama Academy for the First Vienna International Youth Theatre Festival in July, 2009. His latest productions were ‘Woman in mind’ by Alan Ayckbourn and ‘Speed the Plow’ by David Mamet at TeatruManoel- the National Theatre, and lately directed ‘Allatal-qirda’ by Yasmina Reza, at St James Cavallier for Alliance Française de Malte
The late 1960s and early 1970s
I asked Lino Farrugia several questions on Maltese theatre as seen through his personal experience, especially during the late 1960’s and early 1970’s. He candidly explained that in his youth he was fortunate enough to see the ‘Teatru Teatrin’ together with Dr Gorg Zammit, to whom he is forever greatly indebted as he introduced him to theatre. Gorg Zammit (1908-1990) was a novelist and poet who through his pen, created characters such as Wenzu u Rozi from the typical Maltese rural life. Through his descriptive ability, the Maltese have inherited an unfading picture of the beautiful Maltese countryside and the country folk’s way of life.
At the time Lino was a student at the Seminary. In the late 1960’s and early 1970’s, Lino was part of promoting in several village and town theatres in Malta, the popular and famous, and now staple of Maltese folk writings, ‘Wenzu u Rozi’ by Gorg Zammit. He recalled that during this period he performed with actors Johnny Navarro and Armando Urso entertaining the audiences, and Lino as a new actor fearing he would not do well alongside these ‘giants’ of Maltese theatre.
The theatre, judging by the standards of that time, was still in its infancy locally, but the emergence of Francis Ebejer in the local theatrical scene gave a new lease of life to Maltese theatre and revolutionised its way of thinking. Ebejer had studied in the United States and had brought along his intellectual influences that impinged heavily in the introduction of relatively new forms to local theatre.. Initially, the local theatrical audience did not understand these new forms as in the play, Boulevard, but as time went by these new forms gained ground and acceptance.
Lino had the opportunity to be present when Francis Ebejer visited the University in the late 1960s. Francis Ebejer is described as the leading Maltese dramatist of the second half of the 20th Century. His ground-breaking plays introduced a deep introspection of Maltese society, using an elegant style that proved him to be a master of the language. Lino also remembers Albert Marshall, Daniel Massa, Alfred Sant and others who were fellow students at the time.
During the university years, Lino and his colleagues started producing ‘X’Senuru’ a series of experimental theatre productions that had instilled a sense of adventure and innovative theatre approach. Later on the young group started organising the Classic festival at Ta’ Giorni ,a series of Classic Greek theatre that became popular and quite successful with audiences and critics alike. It was a new start for these young men who later on carried on in good stead.
Ebejer had asked Lino to take part in his plays such as, ‘Is-Sejha ta’ Sarid’. In 1971, Ebejer also asked Lino to take part in his play, ‘The Cliffahagers’. In 1972 Lino was asked to direct ‘Vumbarala Zungre’ which for the first time was not directed by Ebejer himself for the First International Arts Festival. It was at this time as well that Farrugia directed ‘Ir-Raheb’, by Erin Serracino Inglott and this being first play in Maltese ever produced by Malta Amateur Dramatic Club (MADC).
This was the turning point in Lino’s career and from this stage onward, Lino kept moving forward in theatre though as a student he had to make the hard decision as to whether he should further his University studies in Economics or else take on a job which he had been offered at Rediffusion.
Television sets were an expensive luxury to the Maltese back in the early 1960’s and radio was still the dominant form of entertainment well into the 1970’s. The local Redifussion company had the sole right of presenting news, views, entertainment, either on sound, radio or television to the Maltese.
As Lino kept on directing one play after the other for Television Malta he unofficially took on the job to establish the Drama Department at Rediffusion. From the television side, in the early 1970’s, Lino introduced theatre for the small screen in Malta by way of a 4-part television series, titled, ‘ Lejla Chekhov’ (An evening with Chekhov), for the famous Russian writer Anton Pavlovich Chekhov who produced four classics and his best short stories are held in high esteem by writers and critics.
This was followed by, ‘F’Bahar Wiehed’ written by Lino Grech, in the late 1970’s which was one of the most popular television series ever. As a parentheses, Lino pointed out that today we have local television stations competing with each other by having their own television serials, but he emphasised the need for more quality rather than quantity.
A new way of thinking for Maltese theatre
Indeed Lino believes that a new way of thinking is required in local theatre in that Maltese theatre should re-visit and revive the classic writers of theatre such as Ugo Betti,Ibsen , Pirandello, Williams, rather than focus on recent British and American comedy. The mid-1970s saw Maltese theatre producing the works of these classics and the Manoel and Phoenicia Playhouse was home to these performances and always packed to capacity. This was also the case when works by Italian actor, playwright, screenwriter, author and poet, Eduardo de Filippo were presented. Lino was also resident-director at the Phoenicia Playhouse producing an average of four plays every year.. At the time, the ‘Atturi Theatre Group’ was formed by Karmen Azzopardi and Paul Naudi.
Lino is currently researching French comedy, the value of which he discovered of recent through the Alliance Francaise de Malte and he can clearly see the difference between the French and British style of comedy.
After a long absence of the classic theatre writers in Malta, Lino believes the Maltese audience is now ready to receive them back again plus maintaining the innovative and interesting forms of theatre which take place at St. James Cavalier, such as the Two and Three Handers. Local television has also done away with classics. He believes that one has to be very selective with classics in their re-introduction as the works are of a high level both in thought and expression.
Is a person born an actor?
Lino believes that one is born an actor even if one does not realise it in his personal life. He mentioned politicians including former Italian Premier Silvio Berlusconi who worked as a singer and doing theatre on cruise ship liners. He is still doing theatre today in his role as politician in the way he expresses himself. Interestingly, former and deceased Maltese Prime Minister Dom Mintoff also performed in theatre in his youth and this aspect of Mintoff’s life would make interesting research.
People who occupy positions that require public-speaking need to be good orators and actors because when one is expressing a strong emotional argument to convince others requires a strong element of acting and theatre.
The challenges for local theatre
Lino believes that one of the greatest challenges remains the demolished opera house which is a theatre without a roof and only a few columns remain standing of that famous edifice. This area can only be used during the summer months, and performances have to be sandwiched in between Festas and fireworks. He notes that Maltese theatre needs to reach out to a wider audience and that theatre should not be extreme but an integral part of Maltese society in that it feels the pulse and is in touch with the realities of society. Theatre should therefore be a means by which the soul of Maltese society expresses itself on issues of a political, economic and religious nature.
On a personal note, Lino concludes that theatre has given him a lot of tears of sadness and joy but above all, it has given him more life and scope especially when he takes the writings of another person, studying what he/she said and interpreting it is an anecdotal experience in itself. He emphasised the importance of the role of youths in theatre, that they should be given more opportunities and freedom to use theatre as a means not only of entertainment but also as an analytical tool to study the environment in which they are living and also and express themselves on matters concerning Maltese society.
Synergy is also required from all the stakeholders, especially from those who can draw on their vast wealth of experience in Maltese theatre together with the up and coming younger generation so that together they can bring forth a new and updated theatre that will appeal to a modern audience.
Television dramas fdriue4cted and produced by Lino Farrugia since 1970:
One hour shows directed between 1970 and 1972:
The Other Son
Wind in the Jar
The Picture
El Grande
The Mystic Lamp
Chekhov’s Trilogy
Television series in Maltese to date:
F’f'bahar Wiehed – 32 Episodes
Il-Hadd Fuq Il-Bejt – Three Episodes
Filomena Marturano – Three Episodes
Id-Dar Tas-Soru – 12 Episodes.
Wirt – 8 Episodes (Author/Director) 1890 Costume Drama.
Ghaddi Il-Bieb Miftuh – 13 Episodes (Author/Director)
Triq Wahda – Six Episodes
Issa Naraw – 13 Episodes (Author/Director)
Tlieta Kontra Tlieta – 13 Episodes (Author/Director)
Villa Sunset – 52 Episodes (Author/Director)
Viva L-Ministru - 36 Episodes (Author/Director)
Miskin Mike- Seven Episodes. (Author/Director)
Theatre directed by Lino Farrugia
Classic Greek theatre:
Agamemnon
Women Of Trachis
Medea
Clouds
The Bacchae
Il-Fenici
Plays by Maltese authors
Ir-Raheb - Erin Serracino Inglott
Vum Barala Zun Garre – Frances Ebejer
L-Omm L-Ohra – Lino Farrugia
Valerjana-Vince Briffa
Mor – Lino Farrugia
Sitt Karattri Jfittxu Awtur
Ix-Xewwiex Minn Nazaret
Filumena Marturano
Napoli Miljonarja
Harvey
Is-Soru Li M'emnitx
Shakespeare
Othello
Julius Caesar
The Taming Of The Shrew
Comedies
My Three Angles
How The Other Half Loves
Pardon Me Prime Minister
13 Rue De L'amour
A few of the others
The Godfather (The Original Theatre Play)
Agnes Of God
Grime On Goat Island
A Man About The House
John Gabriel Borkman
The Rose Tattoo
Who Killed Santa Claus
The Entertainer
The House Of Bernarda Alba
Women In Mind
Speed The Plow