Editorial

The launching of our national theatre's programme for the 2002-2003 season, and the desultory skirmishing in the press this summer over what this theatre, our ancient Manoel of which every Maltese, some more others less, are proud, should be doing about Maltese drama, has made many, and not just the culture vultures, try to take stock of what this theatre has been doing.

A quick look at the coming season's programme reveals the breadth of the Manoel's mission. A little under a score of straight plays, farce and musicals; contemporary dance and classical ballet; a short opera festival - and music galore, ranging from piano and guitar recitals to orchestral concerts and including pop events such as the annual Teatru Unplugged and the annual band clubs concert.

The second baroque festival in May 2003 shows the Manoel as still trying to provide attractive performances for the quality tourist we all want so much. As in most years since its rebirth in 1960, the Manoel is trying to meet the desires and needs of many sections of society, and it is this very same policy that has caused now this, now that, body or commentator to show some disgruntlement with it.

This theatre's policy-making capability is greatly restricted by its being expected by many to serve as a prestigious venue for their privately financed and organised productions, especially where drama and dance are concerned, but not excluding music. A strictly consistent and satisfactory policy is possible only when a theatre is the sole, or at least, the major, arbiter of what should appear on its stage.

Our drama groups choose their productions not solely for their theatrical qualities but also to suit the performers on their books and the likely impact on the box-office. All that the Manoel can do, and has been doing, is to prevent rubbish from being performed and to see that the season as a whole is sufficiently varied.

From time to time, however, the Manoel itself has acted as its own impresario by putting on its own drama productions, and since last season its policy has been to mount two of its own productions each season, one at least of which must be an original work by a Maltese author. The main problem is well known to our theatre people: good Maltese playwrights are not all that common. Good playwrights are not born but nurtured, as a Manoel spokesman said recently, so the Manoel's new policy of monthly play-readings of new works, followed by discussions, should help budding authors face the weaknesses in their work before they venture to stage it.

These play-readings are just one of a number of activities that have changed the Manoel into an art centre: a theatre museum, exhibition facilities, monthly play-readings, free lunchtime concerts, a book discussion club.

In fact, what with the Manoel and the complementary activities at St James Cavalier, Valletta has become an impressive venue not just for the performing arts but for the nurturing of creativity.

What is now desired is for the new Arts Council to channel money towards these two centres, to support those new and exciting artistic activities on which a successful future depends.