Opening Doors and Culture Venture perform a new Simone Spiteri work to appreciative audiences at Spazju Kreattiv.

Fig trees have long been entwined in the heart of world folklore. They are strong, resilient and revered: providing shelter, food, comfort and even functioning as a conduit for salvation. Acclaimed scriptwriter Simone Spiteri, who wrote Is-Siġra tat-Tin in collaboration with artists from Opening Doors Theatre, made a wise choice to title her piece after the fig tree because of the clear analogy it creates with the need for belief and hope to make one’s dreams come true.

A simple set design from the inimitable Romualdo Moretti, with long leafy strands of foliage dragging towards the ground, was lit and animated by Chris Gatt’s sharp light design. It provided the perfect setting for the focus of the actors’ stories and their desires.

The cast onstage at Spazju Kreattiv.

With a cast of differently abled actors as the main characters, together with more established actors functioning in supporting roles, Is-Siġra tat-Tin was a unique experience in how properly mode­rated inclusion and diversity works, along with the firm belief that drama and theatre should be accessible and available to all, serve to enhance community acceptance and awareness.

The production was slick and sharp, just like all the pieces given the Toni Attard treatment. All of Attard’s directorial work has been a pleasure to watch, and this was no exception.

My one concern was that the piece, which was made up of self-contained scenes detailing the lives, experiences, hopes and dreams of the actors, was that apart from the constant of the fig tree, there was no other interconnecting plotline, making them seem rather like little vignettes.

They were, however, excellent stand-alone segments and were both heartfelt and poignant while being respectful and filled with the actors’ sense of purpose and humanity.

A show with a highly commendable message

Justin Spiteri’s troubles with his boss, played by Kurt Castillo, highlights the plight of those who find that society is dismissive of their capabilities at independent, assertive decision making and ignores their need to be given meaningful, responsible work. Spiteri’s own work ethic was clear from his genuine interpretation.

Karl Wirth, who focused on mainly backstage support, made a few well-timed appearances which reminded the audience of the validity of their contribution.  Sharon Bezzina and Castillo also doubled as Denise Camilleri’s hypothetical parents, voicing their own concerns and hopes for their daughter, who is an honest and free-spirited dreamer.

Camilleri’s positive attitude and her charming manner made for a character who wanted to live her life just like other young women and experience love like them as well – planning to have a boyfriend and dreaming of singing with Ronan Keating.

Bezzina’s patronising TV presenter, treating Angela Bettoni like a helpless child, should have struck a note with many who have seen or even been at the receiving end of the babying attitude of authority figures.

Bettoni was excellent in the role she played, venting her frustration at being looked down upon as childish and having her independence and autonomy questioned. Another standout scene was the dance between Peter Fenech and Jacob Piccinino, who mirrored each other’s movements as they found solace and comfort in the fig tree.

By the end of the performance, the tree’s branches were laden with the notes carrying the desires of the characters, and reminded the audience that to accept and believe in others is the best way to help them thrive. It was a show with a highly commendable message and delivered, as always, with great professionalism and sensitivity.