Fra Gaetano Reboul recorded in his private diary, preserved at the National Library of Malta, that on January 19, 1732, the building of the new theatre had been completed and that it was inaugurated, or rather used for the first time, with the presentation of l’Amerope by Italian knights in the presence of the grand master.

Reboul was here referring to the inauguration of the oldest, and indeed the first, of Malta’s theatres: the Manoel Theatre, or as it was known in those days, the Teatro Pubblico. The theatrical presentation referred to was the tragedy La Merope, written in 1714 by Francesco Scipione Maffei (1675-1755), and the grand master was the Portuguese António Manoel de Vilhena, who ruled from 1722 to 1736 and was possibly the grand master most beloved by the Maltese.

Grand Master Antonio Manoel de Vilhena, detail from a portrait at the Presidential Palace, Valletta. He ruled over Malta from 1722 till 1736 and was the founder of the Manoel Theatre. Courtesy: Heritage Malta

La Merope was immediately followed by two comedies: Il giocatore disperato on January 21, presented by French knights; and Don Pilone, ovvero, il Bacccettone falso, performed by Italian knights on January 26.

Whether opera was staged during the first year of the theatre is unknown, and in fact, the first known opera that was certainly presented was Artasese by Johann Adolf Hasse (1699-1783) in the carnival of 1735, followed, in 1736, by Demetrio and La sorella amante by the same composer.

Francesco Scipione Maffei, author of the tragedy La Merope, the first play staged at the Manoel Theatre in 1732. Photo: Wikipedia.com

Johann Adolf Hasse (1699-1788). Three of his operas were staged at the Manoel Theatre in the 1730s. Photo: Wikipedia.com

The libretto of the opera Artasese by Johann Adolf Hasse (1699-1788), perhaps the first opera staged at the Manoel Theatre during the carnival of 1735. A copy of the libretto is at the National Library of Malta. Courtesy: National Library of Malta

Malta did not have a proper theatre before 1732. This does not mean there was a complete dearth of theatrical representations but that a real and proper theatre was lacking. There is ample evidence to show that the Order’s Italian knights had given theatrical representations in their auberge hall since at least the carnival of 1639 when trouble broke out because the entry of women was prohibited by Grand Master Jean Paul Lascaris Castellar, who ruled from 1636 to 1657.

In 1650, there was the presentation of a tragic opera, while in the 1660 carnival, various actors were remunerated a total of 50 scudi to present a comic opera in the Italian auberge. Other references denote 1717 and 1746 as years when theatrical representations were produced in the hall of the Auberge d’Italie. By the time of the latter reference, however, it was reported that a theatre had been functioning in Malta for over 14 years.

It has been said that Grand Master Vilhena built Malta’s first theatre, which now bears his name, because he wanted the island to have its own theatre for the “honest recreation of the people”. It could very well have been so, but one has here to add that this new theatre also formed part of the foundation set up for the maintenance of the then-recently-constructed Fort Manoel.

Vilhena wanted the island to have its own theatre for the ‘honest recreation of the people’

On March 16, 1731, by means of a public deed, the Langue of Aragon sold to the procurator of the Fort Manoel Foundation three houses which together formed a corner of what was then known as Strada Carmine (the present Old Theatre Street) and Strada Zecca (the present Old Mint Street), which belonged to the Priory of Navarre. The area of these three houses was measured as 94½ square canes, and the selling price was 2,186 scudi. A theatre was to be erected on this site, and work on its construction started that same day.

By January 1732, the work was completed. The fact that only 10 months had elapsed leads one to believe that the houses were not demolished completely but were somehow incorporated within the new construction, though a new façade, with Corinthian pilasters, had perforce to be built. Surmounting the doorway was the founder’s coat-of-arms and the following inscription: Em. Ac. Seran. Princeps F. D. Antonius Manoel de Vilhena Ad Suae Fundationis Augmentum Honestamque Populi Oblectationem Exerxit Anno MDCCXXXII.

Plan of the Manoel Theatre showing that the auditorium was formerly in the shape of horseshoe (U-shaped) and that there were three tiers of boxes. Courtesy: National Library of Malta

Originally, the new theatre was the court theatre of Malta and was in the shape of a horseshoe (U-shaped) with a pit and three tiers of boxes, though in the 18th-century plans they are referred to as Pian Terrano, Secondo Piano delle Loggie, Terzo Piano delle Loggie, and Quarto Piano delle Loggie, the loggie being the boxes. Three boxes in the centre of the first tier were for the court. During the 18th century, the theatre was embellished by the addition of various damask hangings.

The architect was Romano Carapecchia, who may have modelled his plans on the theatre at Palermo, though this assertion does not have a clear basis even in view of the fact that Palermo had two theatres at the time. Very probably, the foremen in charge of the actual construction work were Francesco Zerafa (1679-1758) and Antonio Azzopardi, both architects of the Manoel Foundation. The top floor consisted of five boxes and open galleries on either side while across the front, there were two rooms and a staircase.

Plan of the original façade of the Manoel Theatre. Courtesy: National Library of Malta

The façade of the Manoel Theatre nowadays.

The simple façade of the theatre had its windows kept well into the centre, which was bounded on both sides by coupled pilasters that embraced only the two upper floors and rested on two large advertisement panels which were on either side of the doors. There were three doors, with a balcony surmounting the middle one that was wider than the other two.

Structural adaptations have periodically been carried out, particularly in the first decades of the 19th century, under the direction of General Sir George Whitmore (1775-1862) of the Royal Engineers. These included the raising of the height of the theatre to accommodate another tier of open galleries flanked by four boxes on either side, the changing of the auditorium into its present oval shape, additional boxes, and various embellishments. However, in spite of these changes, the Manoel Theatre is still considered as a very important exercise in theatre building, with an excellent interior and acoustics.

A coloured plan of the ground floor of the Manoel Theatre. Courtesy: National Library of Malta

Under the Order of St John, the Teatro Pubblico, as it was known, was administered by what was known as the Congregazione del Forte Manoel which, in turn, was represented by one of its members, known as the economo, or treasurer. The latter would then lease the theatre and its furnishings to an impresario who was bound to present periodic opera e commedie.

The impresario was duty-bound to employ a custodian whose job was to keep the theatre in good condition. The impresario had also to pay the rent of three furnished rooms and to provide all that was necessary for the actors and actresses. Box number 10 was reserved for members of the foundation. This body was to be kept informed by the impresario of all representations and was to be furnished with the relevant opera librettos if possible.

Every time the impresario made use of the foundation’s reserved box, he was to pay 35 scudi. All personnel employed in the theatre were to be paid by the impresario. The usual length of a lease was from September to the last day of carnival, the rate being 200 scudi payable in two instalments.

It seems that many budding actors used the Maltese stage to further their theatrical ambitions and experience. In this theatre, they presented tragedies, comedies and opera, though masques and state functions were also included in the calendar of events.

Elizabeth Schermerhorn paints us the following pen portrait of the 18th-century Manoel Theatre in her publication titled Malta of the Knights (Heinemann, 1929):

“In the Teatro Manoel which De Vilhena built in 1731, a charming affair of gold and white, with delicate passages and graceful floral designs painted upon the ivory panels of its stalls, and his enormous escutcheon above the proscenium, were produced many of those masques and comedies divertissements – ‘Piety Crowned’ or ‘The Rivals of Glory’ – in which the 18th century delighted, crammed with thinly-veiled complimentary allusions to the magisterial virtues.

“The performers were sometimes professional actors and musicians brought from abroad but more often the parts were taken by the knights themselves, the novices, we are told, filling the female parts admirably.”