theartsdesk in Malta: After Censorship | Theatre reviews, news & interviews
theartsdesk in Malta: After Censorship
Edward Bond’s drama staged on a Mediterranean island struggling to shake off the weight of its Catholic past
Legendary English playwright Edward Bond doesn’t often come to Malta, but when he does, he doesn’t suffer fools gladly. After the first performance of his Olly’s Prison — a stage version of the 1993 BBC television series — Bond takes the stage for a Q&A. Dr Paul Xuereb, who is the Mediterranean island’s premiere theatre critic, asks him: “Why are your plays so violent?” “They’re not violent,” replies Bond quietly. “Read the play.”
Bond goes on to explain that Olly’s Prison, now enjoying a short run at Valletta’s St James Cavalier Theatre in a co-production between St James Cavalier and Unifaun theatre company, is about silence. The characters, he argues, are not violent because they are depraved, but because they cannot tolerate silence. “Silence,” says the playwright, “does not cause the violence but it releases it.” Because society does not understand itself, the characters in the play — especially Mike and his daughter Sheila — do not understand themselves. And the result is violence. “Whenever we cannot speak and cannot hear there is and always will be violence.”
Bond writes about violence as naturally as Jane Austen writes about mannersBond once also said that he writes about violence as naturally as Jane Austen wrote about manners, director Chris Cooper reminds me over coffee in the cafe of the St James Cavalier Theatre. He is one of Bond’s leading interpreters in the UK, having staged eight new plays of his for Birmingham’s Big Brum company since becoming artistic director in 1999, and his version of Olly’s Prison is as powerful, truthful and dark as the chiaroscuro of the Caravaggio painting in Valletta’s cathedral (pictured overleaf), which he cites as an inspiration.
With its story of how the widower Mike murders his daughter Sheila (played by Manuel Cauchi and Simone Spiteri, pictured below) and then faces the consequences (prison, release and revenge), Olly’s Prison is an uncomfortable play, with a tense beginning and several excruciating scenes. Compellingly acted by an excellent Maltese cast, it left members of the audience visibly shaken. Cooper defends its relevance, saying, “I see the play at home in England and on the streets and in the cafes and restaurants of Malta, on the faces of the buildings and people in the street; more importantly I see the play in myself.”
Cooper argues that the play is a contemporary tragedy. But that “our world is more complex today than the world that Euripides or Shakespeare wrote about — our experience is more fractured and confusing. Olly’s Prison lays our situation bare for us to see ourselves in it; to see the self in society and vice versa.” He is in Malta at the invitation of Unifaun’s Adrian Buckle, whose theatre company specialises in staging the best of British cutting edge drama: Sarah Kane, Mark Ravenhill and Martin McDonagh.
Since he set up Unifaun in 2000, Buckle has dreamt of staging Bond’s work and now his dream has been realised. But his relationship with the Maltese authorities hasn’t always been sunny. In 2009, he clashed with them over a production of Scottish playwright Anthony Neilson’s Stitching. With its heavy Catholic heritage, the island practised theatre censorship in a way that reminds me of the worst excesses of the British Lord Chamberlain in the 1950s.
They banned Stitching because the Censorship Board, officially known as the Film and Stage Classification Board (but don’t let that fool you), thought that its content was too controversial: swearing on stage is frowned on in Malta. And the censors were not keen on, in the words of one court judgment, the “extensive use of vulgar, obscene and blasphemous language that exalts perversion, vilifies the right to life”, makes “fun of the suffering of women in the Holocaust, and reduces women to a simple object of sexual satisfaction.” Having seen the play in London, I’m led to wonder at the lurid imaginations of these censors since Neilson certainly doesn’t do these things.
But these smut hounds have had a long history of sniffing out sexual and blasphemous content from Maltese culture. In October 1989, Martin Scorsese’s film The Last Temptation of Christ was banned. In 1992 Dr Alex Comfort’s The New Joy of Sex was impounded by Customs for being too “explicit”, followed by a ban on the “pornographic” movie Basic Instinct. In February 1996, John Webster’s 1613 play, The Duchess of Malfi, was censored by the Ministry of the Arts, which ordered a visiting British troupe, Cheek by Jowl, to cut a scene where the Duchess, about to be killed, kicks a small crucifix across the stage. The play was being performed at the Manoel Theatre, Valletta’s equivalent of our National Theatre.
Despite the defeat of Buckle’s appeals in the Maltese courts, he stresses the fact that he is determined to stage Stitching. He is planning to go to the European Court of Human Rights, and it looks like time is on his side. Since Malta joined the EU in 2004, there has been pressure for the country to modernise. Theatre censorship was finally abolished last year (although the ban on Stitching still stands) and the prospect of being a European Capital of Culture in 2018 has concentrated official minds on the image of the island.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Lavish entertainment from the musical portrait of Forties Tinseltown
UK premiere of sweet, phenomenally popular American drama set in a fictional town
Pastiche co-written by Sarah Waters is a brave misfire
Las Vegas bling lethally demolished in Rupert Goold's layered Shakespeare
A charmless Falstaff and two blunt young blades in mediocre Shakespeare double bill
Brilliant and endlessly inventive theatre from this young British company
The danciest British musical ever is back
The children's classic sets sail with Arthur Darvill aboard
Dallas heroine waves her wand, but the stand-up is the stand-out in classical panto
Puppeteers bring horrible plant brilliantly to life in the round
Kings, kids and Kinks: a bit of everything in theartsdesk's tips
Intermittently powerful new Ibsen opera outshone by hard-hitting Norwegian theatre