I can happily say that the old ŻiguŻajg Children’s Arts Festival that we all know and remember is finally back. And it’s back with as many new and crea­tive tricks up its sleeve as it can muster to make up for the beating the local arts scene has sustained in the pandemic of two weight and two measures. And in the vein of living through a science fiction story arc over the past two years, Maltese, London-based writer and director Vikesh Godhwani has come up with a dystopia set 22 years into our future, aptly titled 2044.

In a fast-paced show with a strong indictment of the repression of personal freedom masked as a means of environmental preservation, 2044 introduces tough concepts to a young audience.

The regime of New Leaf is a new order society that closed itself off from progress and the outside world, in order to re-educate its citizens and turn them into easily manipulatable drones. Fifteen-year-old Sophie (Tina Rizzo) goes off to Joy School the day following her birthday, only to be called to her headteacher’s office because her mother Adelaide (Isabel Warrington) has mysteriously vanished.

Mrs Blythe, the headteacher, also played by Warrington, is frightening in her sugary deviousness as an informant and Sophie soon learns that she doesn’t know who to trust. Within hours, her ordinary, humdrum existence as a law-abiding New Leaf citizen changes dramatically as she embarks on a journey of discovery.

While looking for her mother she ends up finding out more about the subversive manipulation of the country’s government and realises that there is much more to life than just the narrow view she has been allowed to see.

This production worked very well not only because of its engaging plot-line and fast-paced scene changes, but because the small cast managed to double the characters so efficiently and credibly, that seeing them showcase their craft in such a versatile and pliable manner was a pleasure in itself.

'2044' introduces tough concepts to a young audience

Warrington also played Miranda, leader of the resistance, and Sophie’s mentor, and her dynamic with both Rizzo and Malcolm Galea, whose main character is Ethan, Sophie’s dad, was excellent. In fact, the entire cast had impeccable timing.

Anton Saliba, who played the Overseer and a government seer as well as various students, chorus members and the Joy Police, merged his own brand of character acting with his fellow actors, and the resulting performance of this formidable foursome was very satisfying.

While the dystopic nature of the piece was serious in tone, I couldn’t but notice a lightness in the way the entire production was presented – a lightness of spirit, perhaps that artistic talent was being used again – that people were at work again, doing what they love and do best.

Behind the scenes was just as rewarding in terms of productivity, with Dorian Mallia’s light design and Matteo Depares’ sound design being crucial to a tech-reliant production.

Godhwani’s brainchild was, as has always been the case with this talented young writer/director, a resounding success on multiple levels. It set and captured the right tone for a performance aimed at older children and teens,  and it made excellent use of proven techniques and the space available while being cleverly innovative.

This was good theatre that worked. It made the audience’s mind work and it’s just what the Manoel Theatre needs to get the audience numbers up again when we hopefully put the events of the past two years behind us.

Here’s to more productions like 2044 – may we not wait too long for another one.