Theatre collective Studio 18 is about to embark on a new venture – this time, across the seas! Founder Jean-Marc Cafà tells The Sunday Times of Malta about partnering up with The Barn Theatre in Cirencester, the UK.

“We’re partnering up with The Barn Theatre in Cirencester with an acute focus on learning on the arts, and it couldn’t have come at a better time. With developments such as education reform looming and the establishment of Teatru Malta, the arts and education really stand a chance of being prioritised and attributed the attention they need and deserve,” director Jean-Marc Cafà said.

Asked whether this means there will be a shift away from Malta, Cafà assures us this is not the case, and that Studio 18 is very much here to stay.

“This opportunity is going to be an extension of its commitment towards international relations, cultural exchange, professional development and legacy for the studio. Most of all, it opens up opportunities for our team and members to tread new waters, broaden their horizons and most importantly challenge the status quo as they are exposed to diverse environments and systems.”

This shift or change, if you will, has always been in the works. Cafà describes it as part of the Studio’s second three-year strategy, with the main aim being to identify pillars of learning and to secure sustainability while challenging the creative and learning teams.

“The synchronicity in thought is something to behold as The Barn Theatre’s Academy has identified these same themes as their main focus moving forward. In light of this, new roles within Studio 18 have been created and others have been reshuffled, ensuring that we are not only paving the way for new ideas and welcoming fresh blood, but that our trajectory is always forward looking.”

For this reason, veteran names like Simone Spiteri, Rachel Fabri, and Andrè Agius will step up and take more active roles, sharing the reins. 

“Make no mistake, this was not an easy decision as it requires me to take a step back from immediate management and from contact hours with members; a lot of my work will be based overseas. However, it’s not yet another case of ‘the grass is always greener’; I love the Studio, I love what we’ve created and most of all I love the individuals that constitute it.

“It’s hard because you feel like there is so much you have left to give directly – especially letting go. The relationships with members… a team with a unique dynamic, who are passionate about what they do and enjoy each other’s company – it’s a lot to leave behind. It’s almost like being at work when you have a newborn at home; you’re always fearful of missing their first steps, missing their first day of school; they’re milestones that you can’t bear to not be a part of.” 

On the flipside, he adds, bearing the interests of the Studio in mind, this was a no brainer.

It’s a way to break out of the island bubble and to begin sparring with other players in a fraternal relationship

“There is a point where you need fresh blood, to re-establish boundaries and to step out. A fresh optic. It would be unfair on future generations if our practitioners did not take the time to develop and refine their craft and practices. I must say the Studio is fortunate enough to enjoy a team of professionals that yearns to learn.”

As example, he refers to Agius, who is embarking on his MFA directing in Edinburgh; and Spiteri who is dedicating more time to her writing, relevant and poignant to current situations and young people.

“This applies to myself too, taking in this project and reading an MEd in Learning and Teaching at the RCS, focusing on design of pedagogy that embraces the relevant cultural landscape.”

He describes this next stage as a bittersweet moment, with a number of factors contributing to this project coming to life.

“Over the past two years, we were fortunate enough to recruit an international associate, Paul Edwards, while I embarked on a quest to understand creative learning and how to keep arts training relevant (travelling to places like the UK, the Netherlands and Palestine).

“At the same time, we began to work with various schools, and the work of the Studio began to gain considerable traction. Our somewhat distinctive methods that encourage members to think outside the box are actually what landed us on the radar of the Barn, who had been following our projects for some time before approaching us with this new and exciting opportunity.”

The two projects, he says, align to each other very well, with the Barn and the Studio both having arts education, the community and a sense of altruism at the very heart of their ethos.

“Simply put, it is a natural fit: a symbiotic relationship born out of the desire to nurture future generations and promote greater accessibility in the community.”

So, does this bring opportunities for Malta and the way we approach the arts and culture?

“Because of its nature as a relationship, I prefer to think of it as both ends of this new community progressing together – it isn’t one-sided and it isn’t meant to benefit one singular party. It’s a way to break out of the island bubble and to begin sparring with other players in a fraternal relationship that allows for communication and mutual soundboarding.” 

Cafà concludes by promising that he will still be very much involved in everything that is happening at the Studio here.

“Malta is home, a place which undeniably stirs much passion, emotions and frustration for me but never loses that quality – and a place where theatre is in its adolescence. And we, as artists, as Maltese artists, have an obligation to nurture and raise as our own. Taking up the post of director of education and outreach at The Barn Theatre will only help open doors; two of our members are already heading out there for internships,” he concludes.

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