‘Our daughters’ daughters will adore us…’

Theatre
Mara Valletta
Campus Theatre

I have finally had the pleasure and privilege to see The New Victorians’ original concept show at the Valletta Campus Theatre, one year after its inception and original execution. This one-night special performance was held as a prep-run before the cast and crew head off to the Edinburgh Fringe Festival, where they will doubt­lessly perform to houses as packed and appreciative as the one in Malta last weekend.

The brainchild of sister duo, Bettina Muchmore and Philippa Cassar, Mara explores the stories of six historically significant women whose work and contributions to society have helped pave the way for the rights that women enjoy these days, while reminding us that the journey is not yet done and that women still have to fight tooth and nail to achieve equality – if anything they owe it to those pioneers who gave them the wings to fly. 

Dramaturg Denise Mulholland helps shape the narratives in a dynamic manner, blending the stories into an organic whole. In fact, Mara is the perfect blend of concept theatre and storytelling, combining physical theatre, with the New Victorians’ specially composed music, recordings of women’s experiences over the years and a couple of live recordings of one or two of the women’s actual voices. 

Lighting effects, designed by Matthew Gellel, the simple and adaptable costumes and use of minimal but memorable props made the performance extremely effective, in spite of its bare set and stripped-down stage.

A cast of very talented young women portrayed significant scenes from the lives of the female trailblazers to whom we owe so much. 

Sandie von Brockdorff plays Virginia Woolf, reciting excerpts of her inspiring Cambridge speech on Women and Fiction, delivering it with poise and conviction. Kay Lee Micallef was Ethel M Smyth, pioneering female composer who persisted in her dream of studying music at the highest level, and later joined Emmeline Pankhurst in her fight for women’s suffrage, as well as befriending Virginia Woolf. 

Pankhurst is played by the experienced Tina Rizzo, detailing her reasons for militant protest, her imprisonment and subsequent struggle, as well as her husband and daughter’s support. 

Rizzo, Micallef and Brockdorff’s performances were mature and cogent; as was Michela Farrugia’s as Corrie Ten Boom, the WWII Dutch heroine who saved the lives of hundreds of Jews, by smuggling them into hiding and providing safe passage, ration cards and papers for them. Farrugia managed to convey the essence of Ten Boom in a poignant and gentle manner, putting across what an incredible force this unassuming, unfathomably kind and brave woman was.

A sensitivity for their characters’ struggles, coupled with the visual performance value which The New Victorians’ direction added, made these performances memorable and worth rewatching. 

Also worthy of praise is the physical sequence between Zoe Camilleri’s Anne Sullivan and her young ward, Helen Keller, played by Julienne Restall. Their struggle to communicate, portrayed in dance and movement is incredibly moving. Completing the supporting cast were Ilenia Gatt and Stephanie Bonnici, whose dynamic movement and choral vocals combined with the other cast members to great auditory and visual effect. 

What makes Mara so incredibly watchable is that it tells the stories of these formidable women effortlessly, while putting to good use the best of staging and theatre techniques which rely not on fancy gimmicks but on sheer talent and discipline. 

The performance will be running at the Pleasance King Dome at 2pm daily, for the entire duration of the Edinburgh Fringe Festival which kicks off today until August 26; and is a definite must-see for all those lucky enough to attend.