A University professor once asked his students to read a particular poem and decide what critical theory they would attach to it. Every single student came back with a different theory, depending on what they were inclined to adhere to.

This was a thought-provoking exercise, which proved that the individual’s perception depends on their life experiences, beliefs and the lasting impacts they leave.

This anecdote came to mind as I watched Id-Dnub tal-Magħżulin at the Valletta Campus Theatre, a theatrical production, written by Adrian Buckle and Trevor Zahra, directed by Tyrone Grima and produced by Buckle and Grima.

Id-Dnub tal-Magħżulin is the story of the Books of Samuel retold through the eyes of a modern society and, optimistically, a more accepting society that does not shy away from a tale of homosexual love.

Bernard Zammit

However, at this point, I feel that a disclaimer is in order, because the many levels, which this performance has decided to unpack, make it impossible to tackle them all in a short review and I would be doing a disservice to the performance if I try. Consequently, one needs to decide what they want to take from the performance.

A significant theme of the performance is the politics of retaining power at the cost of a ruthless war. Saul, performed by Peter Galea, is reluctant to give up his throne and the lengths he goes through to ensure he remains in power resonates strongly in today’s society. Galea gives a strong performance of a driven king who wanted to continue to rule regardless of the repercussions of his erroneous judgments. Saul’s arrogance and refusal to listen to Samuel, played by Sean Borg, resulted in his downfall.

Borg’s Samuel, God’s prophet, is in many ways more regal than the king who has lost control. The performance also addresses the issue of unmitigated obedience regardless of whether it is right or wrong. Stefan Farrugia gives a splendid execution of Abner, the general who followed orders without questioning their validity.

The only female figure in this performance, Mandy Muscat, has the dual role of the Seer that Saul visits, in direct defiance to God’s will, and Michal, Saul’s daughter and David’s wife.

Peter Galea (left) and Sean Borg

A theme which carries weight is Jonathan’s, performed by Miguel Formosa, faithfulness to his father and the internal battle he fights when having to choose to either honour his father or go against his wishes and choose to love David instead.

The juxtaposition of Jonathan’s love for his father and his love for David, and the struggle of trying to do what is right yet again exposes a modern conflict, which many face alone.

Formosa gave a powerful rendition of a man who is torn between the love of his father and his love for David. This brings us to the pinnacle of the performance, the love of David and Jonathan. David, interpreted by Benjamin Abela, is portrayed as a young but ambitious man who uses any opportunity to his advantage, and Abela manages to capture David’s different facades in a unique way.

The bone of contention, which I believe this performance wants to address, is that of David and Jonathan having what can be perceived, by the dictates of today’s culture, as a homosexual or pederastic relationship documented in the Old Testament as a love greater than that of a man and a woman. 

Miguel Formosa (left) and Peter Galea

Id-Dnub tal-Magħżulin, is not for the faint-hearted; it is taxing, lengthy, can make one feel uncomfortable at times, very thought-provoking, and definitely not to be missed. However, as Michel

Foucault claims in The History of Sexuality, the things we consider acceptable and unacceptable are dictated by our cultures and, as such, are subject to change. It is with this frame of mind that one needs to experience this performance, which allows its audience to decide for themselves the perennial debate of David and Jonathan.