When most people think of Malta in the 1980s, they recall – fondly or otherwise – political turbulence and the all-encompassing presence of religiosity. It was a time when identities, whether political or religious, defined you. Yet, one identity was conspicuously absent from public discourse: queer identity.

Even though homosexuality was decriminalised in 1973, it remained largely invisible. Simultaneously, the HIV epidemic was ravaging the Western world. But in Malta, this tragedy was seemingly erased from collective memory – shrouded largely in silence. Luke Saydon decided to change that with Il-Każin tal-Imqarbin.

This musical, written, produced and performed by Saydon, is a love letter to a lost generation. Directed by Denise Mulholland, the production is a masterclass in bringing hidden histories to life. Though the story is fictional, it’s rooted in real Maltese queer experiences and supported by research conducted at MCAST. The result? A production that oozes authenticity, laced with raw emotion and cultural specificity.

Luke Saydon is a unique and necessary voice in Maltese theatre.

Set in 1986, Il-Każin tal-Imqarbin transports the audience to a secret underground gay club, where anonymity is the ultimate safety net. Entry requires a phone call for directions and bringing your own lights is mandatory. Once inside, however, a liberating atmosphere reigns, where real names are forbidden to protect privacy. The club might be cloaked in secrecy, but it offers a rare freedom – a taste of authenticity for those forced to live behind societal masks.

The show’s cast reflects this duality of concealment and self-expression. We meet four main characters, each cloaked in a nickname to guard their true identities.

Il-Bambin, played by Ryan Grech, is a delicate, sensitive soul, while Raphael Pace’s Ta’ Londra dazzles as a flamboyant, cheeky dancer in denim booty shorts. Then there’s the “mother of the house” Ir-Reġina, portrayed by Saydon himself, who runs the club with heart, brain and soul.

Finally, there’s the naïve and devout Is-Sagristan, played by Jamie Cardona, who seems to be riding a wave of theatrical successes this year, hopping from one hit to another like a triple-threat leapfrog.

Jamie Cardona played the naïve and devout Is-Sagristan.

These four actors deliver nuanced performances, peeling back the layers of their characters’ identities as the show unfolds. They transform from the self-assured versions of themselves inside the club to the guarded, socially constrained personas they must present to the outside world.

One of the production’s brightest achievements is its music, which feels like a breath of fresh air for local theatre

Grech, Saydon and Cardona poignantly capture the painful reality of “passing” as heterosexual in a society that demanded conformity. Meanwhile, Pace’s Ta’ Londra carries the unique burden of being an effeminate man in a community that marginalised him both within and outside its ranks.

An honourable mention must go to Josette Ciappara, whose portrayal of Il-Mara adds an extra layer of depth to the show. As a maternal figure and funeral organiser, she serves as the silent witness to this forgotten period, recounting the stories of the men and keeping their memories alive. Ciappara’s performance tugs at the heartstrings, grounding the show’s more extravagant moments in a poignant reality.

One of the production’s brightest achievements is its music, which feels like a breath of fresh air for local theatre. Saydon’s lyrics are anything but pretentious; they speak the language of the community, making the story feel both real and relatable.

Josette Ciappara’s portrayal of Il-Mara adds an extra layer of depth to the show.

The songs, performed by a talented band – Alejandro Monsigneur, Simon Abdilla Joslin, Joseph Camilleri, and Kurt Calleja – take the audience on an emotional journey. From the opening anthem Libertà, Verità u Kurżità, a charged number that sets the scene of the każin, to Raġel Normali, a quintessential 1980s pop song that mixes the styles of Hall & Oates with Ian Dury, the music resonates deeply.

Cardona’s tear-jerking performance of Irrid Insir Papa is a showstopper, while Ħames Minuti, delivered at one point by a faceless choir, is the gut-wrenching earworm you won’t be able to shake off for days. Even after hearing the songs just once, I found myself humming them long after leaving the theatre, eagerly awaiting a recording or official playlist.

This is Saydon’s second standout musical, his first being the tour de force production It-Teatru tal-Miskin, which also tackled marginalised queer communities. Saydon’s ability to blend social commentary with emotional depth makes him a unique and necessary voice in Maltese theatre.

Il-Każin tal-Imqarbin stands on the shoulders of foreign productions like The Boys in the Band by Matt Crowley and Larry Kramer’s The Normal Heart, both of which illuminated the hidden narratives of queer communities. A recent local production, Il-Pożittivi, written by Simon Bartolo, also took great strides to tackle the societal stigma surrounding people who live with HIV in Malta.

Kramer’s 1991 speech on the AIDS epidemic – where he boldly called it a “plague” – resonates in this show, particularly when Saydon’s character cries out to the crowd, “We are going to die”. It’s a haunting moment that underscores the gravity of the era, wrapped in witty yet casual dialogue that strikes just the right balance between humour and heartbreak.

Sadly, but fairly, the production is sold out, even after additional dates were added. But here’s hoping it gets restaged or recorded for posterity. These stories, this artistry, deserve to live on – not just for today’s audiences but for future generations.