'We encourage actors to throw away their lines'

How does TAC differ from other theatre companies on the island? Is there any particular approach to theatrical practice that the company pushes?

Marc: The idea behind TAC Theatre is very simple idea, one that we believe should be the basis of all theatre. This is an idea proposed by all the great theatricians, from Peter Brook to Grotoswki to Uta Hagen. The Truth. And what is the truth? It’s what is right for any actor to do at a specific time.

The form of theatre brings a script alive the moment an actor is not lead by a script but instead becomes active making choices, which could change the whole idea of the scene.

Just as we used to do back during my Drama Training at East 15, we at TAC Theatre explore the various possibilities a scene offers, allowing the actors to play with the scene, and make choices for themselves allowing them to learn the truth of what they are doing.

Wesley: I know it sounds a bit weird, but we encourage our actors to throw away their lines. They’re not important, it’s all about what they’re doing, and what they (the character) want out of a scene is the most important.

The script is really just a sort of map to get you there. And when this sort of theatre unfolds in front of you, you feel completely immersed in it, and truly feel as part of the action. In this way, each piece is always alive, which is what makes theatre interesting.

Why was the story of the Passion chosen as your first production, and what innovations do you aim to bring to the familiar tale, if any?

Marc: Well first off I must let you know… although the play is about Jesus, it is not a Passion play. An Easter play, maybe. But it’s not anything resembling the Passion plays we’re familiar with. In actual fact, it’s really a political play, in which we find two powers – the state and the church – trying to govern a land.

Then, a rebel comes along and starts stirring up the people, saying that a new kingdom is coming. It’s a story of people crying for freedom, which really parallels with what’s happening today in North Africa. Beyond this, it is a fantastic story of the humanity of Jesus, portraying his human side, who had questions and doubts and fears, but above all was ready to fight the good fight with the greatest weapon he had to offer: love.

Wesley: One of the true distinguishing features of this piece – when compared to other ‘Easter’ plays – is that you won’t see a single drop of blood.

Beyond that, you get to see different sides to the other main players in the Passion story, namely Caiaphas, Judas and Pilate, who are normally portrayed as ‘evil’, two-dimensional characters and who instead, we find are leaders faced with choices which could mean the difference between having their land overthrown and causing thousands to be killed, for little more then a dream some ‘rebel terrorist’ is offering.

Do you think that modern audiences are less receptive, artistically, to a story that is not only familiar, but told in several iterations of varying quality and intention on a clearly fixed date each year? And on the flip side, does the attempt to make the story more accessible and/or exciting run the risk of offending a worryingly large number of people?

Wesley: Well, the box office will have to tell, at the end of the day! To an extent, people can be much less receptive to a lot on offer when it comes to Easter plays, because normally they have little to offer but pageantry. Pageantry is boring. It’s all about prancing and showing off.

Theatre, instead, is dangerous and alive. It incorporates life and death; it makes people’s hair stand on end. Could we offend with this take on the Passion? Possibly, if they choose not to listen to what the piece says. How will this happen? Well, you’ll have to come watch to find out!

What kind of preparation did the actors involved in the production undertake? Did they treat it as a regular performance? Or does the Passion story imply a different kind of approach?

Marc: Our idea at TAC is not to go about what is considered the ‘normal’ approach to putting together a piece; in that we first block scenes, then learn lines, then rehearse the same thing again and again. Instead, we like to workshop and experiment, and allow the actors to discover as much as they can about the character for themselves by doing. So did this require a different approach? Not at all.

The rest of the cast includes Steffan Cheriet Busuttil, Pierre Stafrace, Alexandra Camilleri Warne, Claudio Carta, David Chircop, Joseph Zammit, Steve Hili, Nadia Vella, Rachel Gatt, Victor Bonanno, Hannah Schembri, Stephanie Pullicino.

Tickets at €10 are available from tactheatre.com and St James Cavalier (21 223200, [email protected]).