Yasmina Reza’s Art is one of those plays that keeps you constantly engaged with its witty dialogue, no matter how many times you see it. I had watched both English language productions in Malta, and I was very keen to see how it would translate into Maltese as Arti, with Albert Marshall’s direction and translation.
The play was put up at the Splendid, as part of Valletta Cultural Agency’s Stretta festival and saw Sean Buhagiar take up the role of Serge, Mikhail Basmadjian that of Marc and Ray Calleja as Yvan. The narrative is a simple one: Serge buys a ‘modernist’ painting by Antrios depicting white lines on a white canvas. The painting costs 200,000 grand and Marc simply doesn’t get it, calling out Serge’s enthusiasm as fake. Yvan is the third friend stuck in the middle of these arguments while facing personal issues of his own. Things go (much) downhill.
Marshall’s translation offers a fresh take on Reza’s idioms, keeping all her trademark witticisms while toning down the darker elements so as to give the audience a lighter, more accessible script. While Reza purists may well disapprove, from an audience perspective the approach works 100 per cent. So does Marshall’s judicious use of Maltese street vulgarities, which integrated very organically with the register of the original, and effectively lightened the mood when things threatened to get too tense between the three friends on stage.
Buhagiar, Calleja and Basmadjian have good on-stage chemistry. In past years Buhagiar has been absent from the stage, understandably focusing on his Teatru Malta responsibilities. This is a shame; his interpretation of Serge amply proves that he needs to be taking up more acting roles. Initially I had reservations due to the age gap between Buhagiar and the other two leads. As close friends, the three are meant to be more or less around the same age. This is where Buhagiar showed his skill, giving Serge a pompous maturity that makes us forget this gap.
Calleja was outstanding as the put-upon Yvan, perfectly delivering the infamous monologue, blasting a hilarious blend of full-on rage and pathos, never once stumbling or missing a beat. The ensuing cries of ‘bravo’ were entirely well-deserved. Yvan’s is possibly the most difficult character to play – his role is essentially that of an unofficial referee between the other two, and it’s very easy for the other characters to monopolise the attention of the audience. But Calleja’s mastery of comedic timing made his role every bit as memorable as those of Marc and Serge.
Basmadjian brought just the right amount of sadness to the role of the friend who sees himself growing apart from someone he cares for deeply. Marc’s is fundamentally as poignant character and it can’t have been easy reconciling this aspect of the role with the comedic aspect.
My one criticism is that, while I do love the Splendid as a theatre space, this time it didn’t quite work for me as I found it difficult to get a good view of the stage. Being short doesn’t help, I suppose. The other criticism is the pumping music coming from nearby bars, but that’s an entirely different can of worms.
To conclude Yasmina Reza’s Arti was superbly premiered in the Maltese language, and it’s glorious that this work is now also part of theatre Melitensia. Marshall’s translation adds a contemporary register while staying true to Resa’s original work: if you feel like a good night out with plenty of fodder for conversation over your post-dinner cocktail, this is it.
For other theatre reviews, check out this review of Għanqbut f’Moħħa, or the Coward’s classic Private Lives.
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