What a week!

Maltese theatre compares favourably with foreign productions. But foreign acts fill theatres regardless, actor Jes Camilleri tells Ramona Depares

My first involvement in theatre started when I was eighteen years old, through student politics funnily enough. I had formed a drama group with a bit of a social message and the group took an interest in experimental theatre for a long number of years and I still remember those days with a hint of nostalgia. But then I stopped studying for a while and you know how it is, the theatre stopped as well.

My interest was revived when I was reading for my Masters degree in London. I used to spend more time at the theatre than at university… and most of my money too, of course. I still believe that London is the theatre capital of the world, even more so than new York. And so I became a regular in the theatre scene there. When I came back to Malta I was determined to maintain the interest. And so I got back together with my old friends and formed Theatre Anon. This was in 1993 and today Theatre Anon is still very much alive and kicking. It even continued the way it started, i.e. an alternative theatre group specializing in those productions that other groups (more mainstream ones) will not touch. Why? Because experimental theatre has a more limited audience, of course.

However my passion for the theatre does not stop with Theatre Anon. I believe that it is very healthy for an actor to involve himself with other directors as well, to expose himself to a completely different style. Mind you, the interest in experimental theatre has really grown over the years. I mean, Theatre Anon has been in existence for nine years now and we’ve seen the number of alternative theatre groups increasing – which is obviously great. Some are more alternative than us, Martha Kwitt for example and they have their own particular following. It is true that when you put up an experimental production you don’t necessarily fill up the Manoel, but that is not the agenda anyway. And the audiences are in truth quite healthy.

Many people ask me what the main difference between alternative and mainstream theatre is. What is certain is that both genres have the urge to communicate in common. Perhaps it is more a question of a difference in the style they choose to pass with which to convey the message. I do not really like making distinctions between genres. It makes more sense to distinguish between good and bad theatre, which can really happen with both genres. Other than that, it is a matter of stylistic approach: alternative theatre is more based on the physical while mainstream concentrates more on prose. Different audiences like a different approach. And then sometimes the two styles are married and the result is fantastic – we like doing this at Theatre Anon.

I do have a couple of bones to pick with the local theatre scene, but my criticisms are more a question of resources than talent. My first criticism: it is inevitable that a production normally will only last for three nights given the limitation of venues on the island. This means that by the time people get to know about it by word of mouth – and this latter is one of the most efficient forms of advertising – the production will have closed. Broken Glass is an exception to this rule and we are rather pleased about it.

That was criticism one. My second complaint is the lack of rehearsal facilities. It is all very well to have a venue for your performance but this becomes almost useless unless you have a place to carry out rehearsals. The few good venues there are for performances are not available for rehearsals and this increases the difficulty of putting up a good production ten-fold.

There is something else, actually, I’d like to gripe about. I would just love to see more texts in Maltese by local script writers. As well as more original stuff instead of replicating other plays. If only I could get my hands on a good Maltese text…. However, as you can see my complaints are not about the standards of the performances. I believe the standard is good. Of course, production wise we cannot afford the lavish sets and costumes that foreign companies can. But when it comes to the bare necessities, i.e. acting and directing, we do deliver the goods. People who attend both local and foreign productions compare the two very favourably. This leaves me – and everyone else who is involved in the scene, I’m sure – pretty irritated that a foreign act in Malta will automatically get a full house.

But I cannot complain too much. There is a lot happening in Malta at the moment. Theatre-goers are becoming more choosy and that is also a good sign. However, the Maltese do tend to opt for the easy, entertaining stuff than anything more taxing. Still, at the end of the day it is their money and they have every right to spend it as they please.

As for acting, I compare it to an extreme, dangerous sport. After all, for a whole two or three hours, you are on stage, vulnerable to a hundred or so people who have paid good money to watch you. I do enjoy this thrill of performing.

Would I ever refuse a role? Not really. I don’t believe in censorship, that’s for sure. My only requirements before accepting to play a role are that the scrip is good and that I’m happy with the director and cast. After being involved in theatre for so long, I know enough to keep a good distance between myself and the role I’m playing.