What a Week 04/08/2002

What a week!

Vince Fabri reminisces with Ramona Depares about his early days in theatre with the hit series Ahn’Ahna Jew M’Ahniex

You can say that I’ve been involved in the world of theatre and music from a very young age. I was ten when I first started playing the drums with my school orchestra. I still remember Brian Schembri’s father conducting us, Brian used to play the piano as well. When I left school my passion for music did not die: instead, we formed a group and I started learning to play the guitar. As soon as we were old enough the group started playing at hotels and functions.

This was in the early eighties, when the scene was just starting to get a very good vibe. I soon got involved in theatre and began writing music for a number of theatrical groups. You have to bear in mind that these were also the times of political upheaval, the infamous years of 1984 and 85 and the theatre scene also reflected that political tension of the times. Various pressure groups sprung up and I was interested in what they were doing, so I joined. Even today, the name Tan-Numri still strikes a chord in most people’s memory. Street-theatre was catching on and I loved it: we did satire and got inspiration from the day to day happenings in the country – a lot of it was pretty spontaneous and the people enjoyed it. Whenever I think about my early days in theatre it always hits me that I started theatre with the people, within the community, doing pageants, folkmass etc

Eventually I got involved in my first musical: Fil-Parlament Ma Jikbrux Fjuri, based on Prof Friggieri’s book. We were more or less the same group as always, the same people who were doing street theatre. From then on we did not look back: ideas flowed and soon we were in the middle of producing Ahn’Ahna Jew M’Ahniex, which was something completely new for Malta. In fact it took about three episodes for the audience to latch on to what was happening. At first no-one could identify with the concept of Ahn’Ahna Jew M’ahniex and the response was not very encouraging. This caused us no end of worries: I remember that we had filmed all the episodes before the first one was aired and when we failed to get an immediate response it was quite a blow. Luckily, by the third time we went out on air, people seemed to have got used to it. Looking back I can easily understand why people did not take to Ahn’Ahna Jew M’Ahniex immediately. Everyone was used to tele-series, such as F’Bahar Wiehed and Il-Madonna Tac-Coqqa. Then there was a hiatus where people eagerly awaited yet another series. When we hit the air-waves people were expecting a new story, they tried to grasp the plot to Ahn’Ahna Jew M’Ahniex and eventually discovered there was no real plot. However, the show soon took hold and became a household name.

I’ve always considered theatre as a form of communication and this applies to TV as well, because let’s face it both are co-related today. Theatre can be used as a personal form of communication, a way to express your own emotions without necessary sharing your output with someone else. Then there is that other type of more powerful communication, the kind that breaks down barriers between yourself and the public.

I get positive vibes when I think about the local scene. There have been changes, both in the quantity of productions and quality. The quality, of course, varies. Technically speaking we have improved enormously. When it comes to the content, the standard varies, as with all other things.

Of course, the agenda behind a production, the purpose of whoever is producing it, affects the outcome enormously. At times, perhaps, the scope of a particular production may be too commercial. Not that I have anything against this. But I believe that we shouldn’t use theatre for purely commercial purposes, we should create something useful out of our efforts. As for financial aide, I do not really agree with government handouts. Subsidies, on the other hand, are essential. Theatrical companies should be offered reduced rates to rent theatres and why is it that there is no focus on creativity when it comes to educational facilities. We cannot expect young people to appreciate culture if they have not been taught to do so from an early age.

Children, especially, should be encouraged to use their creative instincts. If a girl attempts to learn to play the piano herself, it is more likely that she will appreciate the sounds of an orchestra, for instance, because she is aware just how difficult and time-consuming it is to produce good music. The argument works both ways. If society stays obsessed with academic certificates and exams, the message that we’re sending is that it is these pieces of paper that are important. We do not allow enough space for creativity so it is hardly any wonder that our children are not interested in the arts.

Having said that, at the moment I’m attempting to take life easy. I like to slow down during the summer, give myself sometime to think and perhaps learn something new. Unfortunately it’s rare that I actually have the time to go slow nowadays. I’ve just finished doing the music for a play, Hajja Gdida, I was taking part in the Festival tal-Kant’Awturi and I’m also involved in a local poetry group called Poezija Plus. These tings all take up a big amount of time, which doesn’t leave much space for other things. But don’t get me wrong: I love being part of these small activities.

For the future I see myself doing pretty much the same as now. I certainly want to remain involved in activities like Poezija Plus, literary evenings and such like. I enjoy performing in front of big audiences, but small gatherings have their own particular charm too.