Daqsxejn ta’ Requiem lil Leli started life as a poem by Immanuel Mifsud and, when it was first adapted to the stage by Teatru Anon back in 2018, I had missed it. It was brought back to life this last weekend as part of the theatre company’s 30 year anniversary celebrations, together with The Little Prince.
I’ll get straight to the point: it was a real treat, the likes of which we don’t get to enjoy frequently at local theatres. For anyone suffering from theatre ennui, maybe having seen one too many mundane productions (and yes, there are many of those) Daqsxejn ta’ Requiem lil Leli would have proven to be the perfect medicine. This is not my opinion, I’m actually repeating what I heard many familiar faces – some of whom are involved in theatre themselves – say right after the production.
Daqsxejn ta’ Requiem Lil Leli serves as reminder to those of us who are regulars on the scene as to why we fell in love with theatre in the first place. As for those who maybe aren’t that familiar, and picked this production ‘blind’ as it were, this was a very lucky introduction for you.
We have indeed had all-rounders that bring to life acting, live music, choreography, puppetry, singing, dance, animation and more… but they’re very few and far between. It-Teatru tal-Miskin and Dik is-Siġra f’Nofs ta’ Triq (also based on an Immanuel Mifsud’s work) are the ones that spring to mind.
On to the specifics. Daqsxejn ta’ Requiem Lil Leli was very appropriately staged at Teatru Manoel, probably the only indoor theatre in Malta that could handle the complexities that the production required. The narrative accompanies Leli’s final thoughts and memories as he lives his last moments, showing us snippets from his childhood, his life with his parents, his first love and all those moments that in some way had a lasting impact on him.
There’s nothing prosaic about the way Teatru Anon and director Paul Portelli treat Mifsud’s work. Daqsxejn ta’ Requiem Lil Leli started life as a poem on paper and, even on stage, it continues its life in poetic form. A fever dream that alternates between the grotesque and the beautiful, happy-go-lucky moments and unbearable pain, tangible memories and surreal musings.
This is achieved via what I can only describe as theatrical excellence. Every single element of the production deserves praise without exception, which isn’t something that happens often. Musical adaptation was by Kris Spiteri, who also directed the small live orchestra. The music is not an ‘add-on’, but a crucial part of the production that dictates the mood. At times, the sweeping atmosphere of the music, combined with the haunting visuals by Vince Briffa, made me feel like I was in a post-rock music video. The Godspeed! You Black Emperor vibes were all there.
The costumes – and the way they were used – were spectacular. Kudos to Liliana Portelli and Marcon Pisani who, this time, made me feel definite Miyazaki vibes. The visual parallels between the merry-go-round topper and the hospital blood stands were especially effective.
Props were by Portelli, Pierre Stafrace and Liliana Portelli, exquisite concoctions that seemingly worked by magic. And, of course, Leli himself, designed and constructed by Portelli and so expertly brought to life that you forgot that this was a puppet and not a human actor.
Daqsxejn ta’ Requiem Lil Leli owes its success to more than the sum of its parts. The entire cast, without exception, are masters in getting us to suspend our disbelief, to convince us that that sheet of plastic flying about on stage is actually a series of waves, in the sea. There was one specific moment, when Leli is floating on top of the waves, that was ethereal. Besides the two Portellis and Stafrace, the cast was made up of Douglas Comley, Sandra Mifsud and Jacob Piccinino, and there was no weak link in this six-person team.
The rest of the crew, including lights (Chris Gatt), audio (Sergio Costa) and surtitling (Albert Garzia) all played an important part in making Daqsxejn ta’ Requiem Lil Leli as spectacular as it turned out to be. Teatru Anon deserves the gratitude of all those who enjoy good theatre in Malta, so here’s to another 30 years.
For more cultural news check out ramonadepares.com.