Simon Bartolo has done it again by using the social taboos the Maltese love to read and gossip about and creating a new play 'Habbilni Ha Nirbah'. After the biggest Maltese hit at the Manoel two years ago, 'Jiena Nhobb, Inti Thobb', which played to sold out houses, Bartolo returns with another fiercely tongue in cheek social comedy, taken out of the Maltese news headlines. Remember the story about those four girls who bet who'd get pregnant first by a young man they all were in love with?  Well, that was the starting point for Simon Bartolo.

Stagun Teatru Malti's (STM) executive producer Mario Philip Azzopardi believes that all the previous seasons along with this one as having one thing in common, "The Maltese experience - in all its forms, warts n' all. If we are going to talk about ourselves, in an intelligent, adult, way, then we have to have the guts to look into an uncompromising theatrical mirror, fashioned by socially committed artists who aren't afraid to challenge perceptions, to question taboos, and to unmask hypocrisy wherever they find it."

Director Sean Buhagiar, says Bartolo's dialogue is: "Current, fiery and unapologetic. There is no limit to his acute sensitivity of what constitutes Maltese reality. It's all there, as honest and unabashedly uncompromising as ever ... The play springs from local sensationalistic stories, about teen pregnancies, misguided youth, discombobulated parenthood, to paint a not so happy picture of alienation and decadence. The subtitle says it all - FejnFallejna? (Where did we fail?)"

Mr Azzopardi, Mr Buhagiar and the playwright Simon Bartolo met with The Malta Independent on Sunday this week to talk about the play, the joys and woes of production and the current state of Maltese theatre in general. What ensued was precisely what one would expect from three theatrical figures in a room together.

Mr Azzopardi opened the discussion with his customary enthusiasm. Here is a man who is passionate about his work, his love of the theatre and everything Maltese. "There is great talent in Malta. I honestly feel there are those who are genuinely concerned about the care and development of this talent. Pity they are living in fantasy land and are still tied to schemes and systems that are either outdated or simply pies in the sky. They need a serious reality check and start realising the realities in which the art industry can subsist in this blessed island! I believe they are doing more harm than good in not addressing the core elements of what it means to be an artist in Malta."

Sean Buhagiar, who is also Mr Azzopardi's deputy in the Artistic Director's office of the Valletta 2018 programme, quickly jumped in; a sort of diplomatic filter to Azzopardi's passionate outburst. "Wait," he said, "that's a subject we can spend the rest of the week on, we are here to talk about 'Habbilni Ha Nirbah'." To which Azzopardi conceded.

Sean Continued, "Mario lives for controversy in the arts. He drinks it with his coffee every morning"

Mario interjected that "that's not really fair."

Simon Bartolo, smiling benignly butted in. "If you don't stop them, these two will never give up. They started this argument eight years ago and are still at it. I can't see the time when they'll get off it."

The three men laughed it off at which point it was pointed out that the playwright can't possibly  say that he is new to controversy, what with his last play with the STM, 'Jiena Nhobb, Inti Thobb', being a controversial extravaganza.

Before Mario and Sean jumped in, Simon continued, "Listen, let's make one thing clear, what some of us consider controversial theatre may not exactly tally with what's going on in the rest of Europe. Sure, STM has infused the Local Theatre scene with some very pertinent theatrical experiences, giving us a very much needed shot in the proverbial arm, and in my opinion, that is why they enjoy such a success locally. I feel that theatre in Malta somehow became a repository for British-shock-as-you-go productions, coupled with remakes, amateur Shakespeare and Maltese works written, generally speaking, more than fifty years ago. A post-colonial situation characterised by more shame than pride in the very colourful language and character of our islands and ourselves. Yes there were exceptions of course. But since STM came along, and for this I credit Mario, we are experiencing a resurgence of Maltese original theatre the like of which we have never seen before. 'Habbilni Ha Nirbah' is their eleventh production in eight years with two more already readied for this year. That's a whopping thirteen new original Maltese plays in eight years. No small achievement.  I don't think we have ever had that kind of output before, definitely not in my lifetime."

Following rumours that Mario Philip Azzopardi tends to be quite dictatorial in his approach, we asked how it was working with him.

Mario moaned, Sean laughed, vigorously nodding while Simon was not smiling.

"He is here in front of me, how can I answer that?" protested Simon.

Mario jumped in, unhesitant, sure of what he had to say, "Of course I am tough. That's my job. I haven't done what I have done in my carrier because I was soft. There is very little democracy in the business of cinematic and, or theatrical production, or art management. I am not saying that I am always right, but there's got to be someone at the helm. Sometimes you win and sometimes you lose. As long as you don't give up, you'll always find ways to survive, move on, and hopefully avoid the same mistakes, but I am not afraid of making mistakes. It's part of the game, and I'm not afraid of taking charge, neither, especially if I am footing the bill."

"That said", continued Simon, "thank God for it. We workshopped the script for a whole year before starting rehearsals. I enjoyed the process. Mario and Sean challenged me at every turn and that kind of scrutiny, professional assessment and leadership was a great help. I was not allowed to cut corners and the play is better for it.  Not only did I have the benefit of Mario's experience but also Sean's directorial talent to help me create and write the play. I was continuously encouraged to discover different options, and I knew that in moments of writer's block I could always depend on them to see me through the tough spots. Thankfully, they take their job very seriously."

Sean added, "Listen, we are talking about one of the best, if not the best, playwrights to write for the Maltese stage in the last 30 or 40 years."

Simon was embarrassed by the comment, but Mario agreed wholeheartedly.

Sean continued, "Simon writes about us, about the Maltese. We can recognise ourselves in the characters on stage, in a direct, uncomplicated, unencumbered way. His dialogue is what I call a rapid-fire-reality-check that makes you laugh, cringe, get shocked and wise up too, at the same time. I guarantee you one thing; once the powers that be wake up, they'll recognize that it's about time we reassess the true meaning of theatrical heritage in Malta, and Simon's work, and, let me tell you, most of what we have presented so far, will one day form a major part of our theatrical heritage, unless of course we want to stagnate in what is, for today, irrelevant work."

Mario then smiling added, "I'm training the kid (Sean) how to kick ass 'controversially'".

There has been a very loud buzz on the social media about it, especially because of the somewhat provocative poster, TV spots and the title itself, but according to Sean, "It's not so much a comedy about pregnancy but more about the current disturbing issue of teenage pregnancy. I think it is more of a scathing comment on misguided youth, lack of parenting and loss of traditions."

Simon agreed, "Yes, that's about it."

STM assembled a fantastic cast made up of, Monica Attard, Narcy Calamatta, Josette Ciappara, Carlos Farrugia, Vince Micallef Pulé, Antonella Axisa, Marceline Galea, LorrianeD'Ugo and Jean Pierre Cassar. The four girls are being played by Kim Dalli, Daniela Carabott Pawley, Mariele Żammit u Shelby Aquilina.

'Habbilni Ha Nirbah' will be performed at Manoel Theatre, 12, 13, 14, 19, 20, 21 February, at 8.00 pm with two matinees at 3.00pm on the 14 and 21) Booking has opened to brisk business at the Manoel theatre and online at www.teatrumanoel.com.mt.

Prices are cheaper on the first weekend.  One word of advice: Do not leave your ticket purchase to the last minute. STMs productions have a knack of selling out early