Boċċi il-Musical. Photos: Nisġa
I’m going to be honest here – I would not have placed a musical about the traditional game of boċċi high on my list of theatrical entertainment. Yet, there I was on Sunday evening at the Żurrieq boċċi club – cheering, laughing and crying over the lives and games of four (fictitous) boċċi players.
Teatru Malta’s Boċċi, il-Musical is that most improbable of formulas. One and a half hours of singing, dancing and acting dedicated to a game that has become sadly niche. And it’s brilliant. But before I tell you why, here are the details.
Boċċi il-Musical dates & other production details
| Play | Boċċi il-Musical |
| My rating | ⭐⭐⭐⭐⭐ (5/5) |
| Produced by | Teatru Malta & Give or Take Productions |
| Writer & co-director | Malcolm Galea |
| Co-director | Philip Leone-Ganado |
| Cast | Joseph Zammit, Philipn Vella, Becky Camilleri, Adam Ryan, Sandie von Brockdorff, Michela Farrugia, Chris Scicluna, Bertha Farrugia |
| Composer | Matthew James Borg |
| Musical director & pianist | Albert Garzia |
| Bassist | Kristina Asia Garzia |
| Drummers | James Dimech, Thomas Valletta |
| Vocal coach | Sean Borg |
| Set & props designer | Maria Rosa Thornhill |
| Worker on set | Fabrizio Vella |
| Director of movement | Jacob Piccinino |
| Costume designer | Angele Galea, Luke Dimech |
| Wardrobe supervisor | Luke Dimech |
| Wardrobe assistants | Maria Pia Falzon, Pola Krakowska |
| Light & technical design | Gianluca Bianco |
| Stage & locations manager | Sefora Mannino |
| Deputy stage manager | Rachel Ann Zammit |
| Assistant stage manager | Lara Agius |
| Stage hands | Margaret Said, Sarah Zammit Randich |
| Dates | Until July 20 |
| Time | 8PM |
| Content warnings | Mild language |
| Venue | Various venues around Malta |
| Duration | 1.5 hours |
| Ticket price | €20 |
| Booking | Official website |
| Language | English |
| Accessibility | Check individual locations |
Boċċi il-Musical narrative
Malcolm Galea’s book introduces us to four main characters – Osmar, Jes, Martha and Jonathan, each serving a different Maltese vibe. Jes is the classic male old-timer – doesn’t know how to speak with his grown-up daughters who live abroad, and grieving the loss of his wife a year earlier.
Osmar is the god of boċċi. Or, he believes he is. Problem is, no-one can stick his attitude and all his team-mates have abandoned ship. Martha is the outsider, a young woman trying to sell her home and build a little nest egg for herself and her daughter.
Bringing them all together is the boċċi club. The club needs three players to avoid being shut down and the land reclaimed by government. Martha needs the boċċi club to survive until she manages to sell off her property – it’s the only guarantee of a continued view for the buyers. Jes needs the club because it’s the only thing left to remind him of his late wife. And Osmar pretty much has nothing else going on.
Jonathan, the young, black bar-tender, is the comic foil and unexpected hero. Martha discovers a hitherto unsuspected talent for playing boċċi and the stage is set for laughs galore, backed by some pretty nifty musical numbers.
The premise behind Galea’s narrative may be simple, but it runs deep. The story is clearly informed by some serious research, as boċċi clubs around Malta and Gozo are indeed facing these kind of troubles. There is plenty of comedy to be found in the narrative arc, but also plenty of poignant truths that point to a dying sport. The sport may indeed be considered part of our cultural legacy, but this alone isn’t going to ensure its survival.
Galea is no stranger to successful musicals, of course. His 2009 Porn The Musical was a massive success both locally and in the UK, where it won Best New Musical at the Off-West End Theatre Awards. Boċċi Il-Musical takes Galea’s talent to an entirely new level, delving into the cultural undercurrents that define Malta’s social fabric, using boċċi as a poignant symbol of tradition under threat. Boċċi stops being simply a game, and becomes a metaphor through which the work explores belonging, loss and the persistence of cultural identity.”
Galea’s script is rooted in the authentic Maltese cadence – whether it’s Osmar the “rough raħli” who speaks, or the posher Martha. The often-contradictory essence of Maltese speakers is perfectly captured.
Music, direction & staging
The Maltese musical is enjoying a serious renaissance. Last year I reviewed Il-Każin tal-Imqarbin, another five-star production that tackled a poignant social theme through an excellent book, music and lyrics. Boċċi il-Musical is yet another worthy addition.
The score for Boċċi il-Musical is composed by Matthew James Borg (who co-wrote the lyrics with Galea). Borg creates a rich emotional landscape, shifting seamlessly from moments of joy to deep drama, nostalgia, tension… Music director Albert Garzia and the musicians’ ensemble deliver a powerful performance that reinforces the story-telling, creating a layered narrative. The opening number, Niltaqgħu Nhar it-Tlieta, immediately sets the tone, paving the way for a series of bold, catchy numbers.
Galea co-directs the production alongside Philip Leone Ganado. Both seasoned directors, clearly there’s good chemistry between the two as they present a unified vision, striking a good balance between the lighter, ensemble scenes and the character-driven moments. The show maintained momentum throughout the entire 90 minutes.
Set designer Maria Rosa Thornhill allowed the space itself – I attended the Żurrieq Boċċi Club show – to become a living part of the narrative, wholeheartedly embracing the authenticity of the location. Her set design cleverly harnesses the actual atmosphere of a boċċi club, so that it almost becomes a character in its own right.
Luke Dimech and Angele Galea did a superb job with the costumes – the ‘snack hats’ worn by the ensemble during Jonathan’s number, Fun In Packs, were particularly inspired. This all comes together thanks to director of movement Jacob Piccinino, who pulls the feat of making it all work within a space that, by necessity, has a fair share of props limiting movement.
The cast
The quartet of main characters has no weakest link, each artist contributing to a well-rounded performance. Joseph Zammit as Osmar navigates the tonal shifts of his character with ease. I had not had the opportunity to enjoy Zammit’s vocal range since Il-Qfil u l-Ħelsien Skont Manwel Dimech. Boċċi sees him unleash the full power of his vocals in numbers like Jien u Jiena Biss, much to the pleasure of all present.
Philip Vella is the big revelation as Jes. I am more familiar with Vella’s sterling work as composer, but clearly he’s been holding out on us. I believe this is his debut as actor, and what a debut it is. He holds the audience in the palm of his hands, bringing us all to tears in Mary Tgħidli.
Becky Camilleri’s Martha is wonderful. No surprises here; Camilleri commands the stage with ease, as per usual. She brought the house down in Hekk Isir Ix-Xogħol, an assured – yet hilarious – depiction of the ultimate multi-tasking powerhouse.
Adam Ryan as Jonathan leaves a lasting impression, delivering comedy in bucketfuls even with a mere catchphrase. The last I saw this young actor on stage was in Kif Tgħallimt Insuq, where he also left a strong mark despite having a relatively small role. I have no doubt that we’re going to be seeing a lot more of Ryan in the future, which is a good thing.
Shoutout to the Ensemble, especially Bertha Farrugia, who played Sherise when I reviewed. Again, a very small role that was very big on comedy. Capturing the essence of a certain type of Maltese is not easy, and can lead to a painful pastiche. Not Farrugia, though. The same applies to Sandie von Brockdorff in the role of the estate agent – that ‘Mydears’ was epic. And the typo is intentional.
Boċċi il-Musical – Verdict
I’m not going to beat around the bush. Go and watch Boċċi il-Musical, even if you’re not usually into theatre. It’s a brilliant night out brought to you by some very talented individuals. Missing it would be a shame and there are plenty of dates and venues until it closes.
One of the best things about Boċċi is the sense of community that surrounds it. On the night I attended, there were quite a few boċċi enthusiasts who were not shy about shouting out their opinion about the boċċi action part. It was wonderful. The venues also add a lot to the sense of camaraderie, and I really enjoyed the different vibe than that of the usual crowd.
If you’re one of those who catches themselves saying “theatre isn’t for me”, give this one a go. And then let’s talk.
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I received no payment for this Boċċi Il-Musical review and I was offered press tickets. The opinions expressed here are purely my own and the producers had no input/control over what I wrote. There are no affiliate links contained within this page.To learn more about my policies and my reviewing process, visit my Affiliate/Advertising disclosure page.