Id-Dnub tal-Magħżulin Review: or, The Importance of Questioning What We’re Taught

Id-Dnub Tal-Magħżulin: Benjamin Abela & Miguel Formosa as David and Ġonatan respectively. Photo: Jacob Sammut

Id-Dnub tal-Magħżulin is a new theatre work currently running at the Valletta Campus Theatre. The production brings together quite a few titans from the local arts scene. It is written by Adrian Buckle, the heavyweight behind the Unifaun theatre brand, and Trevor Żahra, who is pretty much the godfather of Maltese literature.

Direction is by Tyrone Grima, who is no stranger to theatre that draws on religion and psychology. His Agnes of God, a play about a woman in the grip of a faith so intense it leads her to the unspeakable, was intensely debated. And he has countless other theatrical accolades to his name, including Terrence McNally’s poignant Mothers and Sons, which featured the late Polly March in full fettle.

Grima is also a well-known LGBTQIA+ theatre activist, besides being the founder of Drachma, an organisation providing a safe space for those seeking sexual and spiritual integration. All these elements, combined, meant that I was particularly keen on seeing the impact of Grima’s input on this biblical reinterpretation.

Before I kick off with the actual review of Id-Dnub Tal-Magħżulin, here are the full details for those of you too impatient to read through.

Id-Dnub Tal-Magħżulin – Practical Details

The Story & Themes behind Id-Dnub tal-Magħżulin

At its heart, Id-Dnub tal-Magħżulin is a re-interpretation of the biblical story that centres around David (him of Goliath-slaying fame) and Ġonatan (son of King Saul).

In the original tale we see the relationship between these two heroic figures as ambivalent, a strong tie that’s theoretically platonic but that doesn’t quite rule out a more romantic or sexual side. Id-Dnub tal-Magħżulin presupposes straight-up that the two were lovers.

I am no bible scholar, and, sadly, I couldn’t stay on for the discussion that took place after the premier of the show, moderated by Rev. Prof. Josef Mario Briffa. But there’s no doubt that this interpretation provides a valid and more interesting perspective to the traditional one favoured by hardcore conservatives, which places homosexuality as inherently wrong. Even the most liberal of ecclesiastic pronunciations still describe homosexuality as ‘irregular’.

As a point of principle it is very difficult for me find fault with a narrative that places David – one of god’s chosen – as a gay man in love with Saul’s son, not to mention a conniving, power-hungry little witch to boot. I’m being flippant, of course, but the clapback at a church that historically has hardly been accepting of diverse sexual orientations is too tempting.

Debates regarding sexuality aside, Id-Dnub tal-Magħżulin at heart remains very much a story of epic warfare. A considerable amount of time is devoted to descriptions of battle, tactics and strategies for defeating the Philistines. The narrative seed that is sown by Adrian Buckle alternates between scenes of battle, the musings of Saul and the ever-evolving relationship between David and Ġonatan, keeping us on our toes with a series of flashbacks.

Trevor Żahra’s stamp throughout the script is unmistakeable, injecting humorous retorts and one-liners that invariably land extremely well with the audience. These provide excellent reprieve from the serious dialogue, which at times gets too heavy.

Cast & Performances

Id-Dnub tal-Magħżulin sees Peter Galea taking on the role of King Saul, interacting with the audience as a narrator of sorts through a series of descriptive monologues that at times turn into rambling. Galea shines brightest when he’s thrown right into the action, conniving with his second-in-command Eliab (Josue Formosa), or trying to outwit David in conversation.

Benjamin Abela is a multi-faceted David, beautifully communicating the evolution of his complex character. He starts off very much as an ingénue, but somehow becomes one of the most prominent political figures and, eventually, king. The role gives Abela an opportunity to show off his range as actor, as his character shifts from innocence to brashness, cunning and ambition, while still realistically portraying the sincerity and depth of his love for Ġonatan.

Miguel Formosa’s Ġonatan is painfully torn between loyalty to his father and his love for David. Formosa pulls off what is probably a very difficult scene with grace, and an almost childlike candidness that transforms the potentially gratuitious nudity into a seamless evolution of his relationship with David.

Samuel is delightfully depicted by Sean Borg, who is in fine form as the ruthless prophet who appears to be even more of a conniving witch than David. Incidentally, Borg is one of two cast members who appears 100% at ease with his lines.

The other actor who delivers a fully-flowing performance is young Matthias Zarb. He is especially remarkable in his role as Abiattar, while delivering the speech about Saul’s massacre to David. I had missed his interpretation of the titular character in Oliver! The Musical, as Jamie Sciberras was in the role when I was reviewing – I look forward to seeing more of him on stage in the future.

All the other cast members have not yet reached a stage where they inhabit the dialogue comfortably. There were plenty of pauses at unexpected moments, as the actors scrambled to find the right line.

Direction & Staging

Tyrone Grima’s direction of Id-Dnub tal-Magħżulin is nuanced. He skilfully sections the different time-frames, relationships and storylines within the plot by using Romualdo Moretti’s segmented, multi-level set to great effect. He emphasises the emotional interplay between the characters over the battle scenes, successfully shining a light on the themes, while still giving enough action to those who want it.

However, Grima’s pacing suffers somewhat whenever Saul takes on the role of narrator, the long descriptions making my mind wander. This was particularly so throughout the first act, which is more narrator-heavy. The approach taken by Buckle in Peer Gynt, where the narrator’s role is more ‘scattered’ throughout the production, may have worked out better.

Verdict: Is Id-Dnub tal-Magħżulin for You?

Id-Dnub tal-Magħżulin delivers a strong impact. The re-imagining of one of the Bible’s most famous stories/relationships creates plenty of opportunities to discuss what role (if any) the interpretation of such religious epics from the Old Testament play in today’s society.

It also delivers on the entertainment factor, even though the script can do with tightening and editing. It packs plenty of action, sex and betrayal during its two hour run (approximately), so even if you’re not a fan of biblical themes you’re still getting your narrative hit.

Id-Dnub tal-Magħżulin gave me the chance to consider one of the earliest stories from my childhood from a completely fresh perspective. It confirms rather excellently why we should never take everything that we’re taught at face value, whether this is catholic dogma about homosexuality or even just simply who is the real hero of the story.

For me, the real hero here is Ġonatan, forced to choose between his father and his love, and nonetheless betraying neither. Who will be yours?

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I received no payment for this 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.