Mikhail Basmadjian: ' Every part I play, or project I undertake, no matter how small, is always a defining moment'

Mikhail’s been acting on stage, TV and film for over 35 years. He completed the Manoel Theatre Academy of Dramatic Arts. Recent theatrical appearances include The Old Man in Ionesco’s The Chairs, Kreon in Medea, Bill Sikes in Oliver, Georges in La Cage Aux Folles, Billy Flynn in Chicago, Marc in Yasmina Resa’s ART, Macbeth in Shakespeare’s Macbeth, Stu in the infamous banned Stitching (Anthony Nielson), Barabas in Christopher Marlowe’s The Jew of Malta, Larry in Patrick Marber’s Closer, Tom Stockman in En Folkefiende (Brad Birch), the Professor in Oleanna & Charlie Fox in Speed the Plough (David Mamet), Falstaff in The Merry Wives of Windsor & Bobby in Stephen Sondheim’s Company. He starred in many local TV series, films with roles in several foreign films. Has an MA in Psychology, an MBA, is a graphic designer and voiceover artist, scuba-dives, plays piano and enough saxophone to survive a stormy winter. Connoisseurs claim he cooks the best octopus on the rock. www.mikhail-design.com

1. What’s been the most defining moment in your career so far?

I don’t think in the way of ‘career defining moments’. Every part I play, or project I undertake, no matter how small, is always a defining moment, at least, intrinsically to myself and not necessarily in terms of public image. My perception of self-growth is often different to what audiences around me may perceive. For example, I may feel that a part I played in a play really helped me to better myself as an actor and human being, however this may seem very insignificant to my peers who would not have even watched it, or, if they did, thought nothing of it.  I am trying to create a full time acting career in theatre, film and TV (and consequently a recognised and respected profession) on our small island and it is super difficult believe me. But let’s just say that something that I could call ‘the most defining moment in my career’ has not yet materialised, and maybe it never will to me. For the purposes of this question however, in terms of public image, most people recognise me (even 25 years later) for my roles as Anglu Caruana in the series Anġli, and Sur Gatt in the series Simpatiċi.

2.  As a creative, how do you navigate the world and speed of social media?

I am not very active on social media since I am somewhat of a private individual. Even when I have an ongoing project, such as a play or film, I do not like promoting myself or my activities ad nauseum. I use Facebook and Instagram, but try to avoid most controversial online discussions, which I feel (although deemed as democratic and healthy) segregate, alienate, and label in a very impersonal ‘digital’ way. I am very old school in that respect, I guess. And this is quite paradoxical because I worked in marketing for many years and ‘used and abused’ all available social media tools on a daily basis.

3. Do you consider artificial intelligence a threat to your career, or an opportunity?

I am also a voiceover artist and the threat from AI in this sector is quite clear. Already machines are taking over voiceover production. Sometimes I get requests to record thousands of lines of text, which would be used to teach machines how to talk, using my own voice. This means that my voice could be used absolutely anywhere without my knowledge. Theatre acting is still somewhat unaffected; however, AI is now fully used in script writing and story development, making our lives easier (or lazier). I feel we need to make sure that AI ‘helps’ the arts rather than dictates the way forward. Machine self-consciousness is not that far away is it?

4 How do you stay motivated and inspired, especially during tough times or when the work feels hard?

I just tell myself that I am extremely fortunate to be doing exactly what I want and what gives me most satisfaction in life, versus getting up every morning and rushing through traffic for a 9-to-5 job.  Although I have a Masters in Psychology and Graphic Design, an MBA and marketing qualifications, and have always worked in stable full-time managerial positions, 10 years ago I decided to pursue the artistic side of my life, which until then was ‘only a hobby’.  So now I am a full-time actor, voiceover artist and graphic designer.  I am incredibly lucky to share the same ‘world’ with my partner Antonella Axisa, and we undertake many projects together. We help each other to stay motivated and inspired.  Also, I am a very spiritual, philosophical person. Most answers are found via contact with nature and introspection.  When times get tough, I will be in the valleys looking for beauty and harmony. 

5.  How do you balance your creative instincts with the expectations of your audience or collaborators?

This is a bit of a tricky question. In live theatre performances, once the character is created, I try to stick to it as much as possible. The character will ‘grow’, as we like to call it, the more shows one does. You start discovering new things and meaning to the text the more you perform the character. Also, the reaction of audiences is very important as it helps to either reinforce your delivery, or (involuntarily) make slight amendments. Is this a kind of ‘creative prostitution’? Say, in a classical Greek play you deliver a line which all your fellow actors and director deemed as funny, but in the performance the audience does not even snigger and the deafening silence lasts an eternity—do you try to change your delivery during the next show, or do you stick to your guns? It’s not an easy answer but this is a clear example of creative instincts versus expectations in live performances. There is a multitude of other variables that work for or against this conflict. 

When it comes to graphic design, I initially offer the client various options without any creative inhibitions. Often, the client has very set ideas and (sometimes unwillingly) I am forced to modify/delete/change my creative ideas to conform with the client’s wishes. There are times when the client is very happy with the end result while I am not. Ideally, there needs to be a balance. And, no I do not believe in the phrase ‘the client is always right’—it is not always about payment. Having said that, undoubtedly, the client may sometimes be more creative than me! So, keeping an open mind and not falling in love with your own work is of ultimate importance.   

6. How do you approach a new project? Do you have a specific process or routine you follow? 

I am quite fluid when new theatre or film projects come along. I am not a routine person and try to stay as objective as possible. The spontaneity of the process inspires me. For instance, when offered a part in a very classical play which has been done over and over, the easiest thing would be to watch previous versions online—usually I leave that right until the very end, when I have already formed the character according to how I see him—

or do not watch any other version at all.  When it comes to interpreting any part, be it theatre or film, I obviously engage in much historical and practical research to help me build the character. The most important part in the preparation process is watching the people around me and finding little building blocks to use and mould together—mannerisms, voice fluctuations, gait, movement etc.  Simply spending 30 minutes in a village square or in a busy street, or in a more specific environment as dictated by the setting of the piece, can generate a ‘database’ of unique imagery. 

7. Can you let us in on some of the future projects, works?

Last year I took part in a series called The Bombing of Pan Am 103, the true story of Lockerbie, and I played a Maltese police inspector. Malta was involved in the international investigations at the time. The series just aired on the BBC, and is soon to hit Netflix. My next play is the Arthur Miller classic A View From The Bridge, where I will be playing the lawyer Alfieri. The play will take place at the Manoel Theatre in October 2025

Extra round

What’s the most memorable or transformative role you've played, and what did you learn from it?

I would say the most memorable role (not in terms of performance) but more in terms of situation was the play Stitching. In 2009, we were about to put up the play written by Anthony Nielsen. To cut a long story short the play was banned and disallowed by the then Board of Censors. We completely disagreed with this ban as it was a blatant exercise in censorship, and embarked on a 10-year legal battle with a court case and an appeal in the local courts, finally winning the case in the European Court of Human Rights in 2018. The play was performed at the Manoel Theatre Studio in September 2019 to packed houses.  I feel privileged having been instrumental in the total revision of the Malta censorship laws and the abolition of the Board of Censors altogether.

Back in 2009 when the play was banned, we were warned by the then Commissioner of Police that should we go ahead and perform it, we would be arrested and so we held a series of performances in people’s houses, namely in kitchens and sitting rooms, which was the closest thing to ‘underground’ theatre that I ever experienced!  After performing in such small spaces, even the stage of the Manoel Theatre Studio seems enormous. Ten years down the line, I was of course older, and amazed at just how differently I interpreted the same script! Following our performance, the audience could not really understand why it was banned in the first place.