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Stephanie Farrugia has become a household face through her work as a newscaster, a television presenter and as an actress. What many don’t know, perhaps, is that she dedicates herself full-time to her passion, working in the Drama Unit, which provides a valuable Theatre-in-Education initiative. Here she speaks of these aspects of her life and of her latest role in Anton Chekhov’s classic play Chaika, which has been translated into Maltese
What inspired you to start acting, was there a family influence?
Perhaps it was my mother’s love for life, books and cinema…then again, my mum’s brother kickstarted my love for the arts in general, and more specifically, theatre, later.
Which have been your most memorable roles and why?
Maybe the ones, which I still, have to play. My present shortlist, though, would include: the Witch in Macbeth, Ophelia in Hamlet, and Regan in King Lear, because I love Shakespeare; Anna in Closer, because the script is so brilliant and wicked; and also a mental patient playing Charlotte Corday in last year’s Marat/Sade, because it was quite simply one of the most unforgettable productions ever.
Oh, and I mustn’t forget the part of Juliet in a production of Shakespeare’s play we are currently presenting to Form 4 students at the Drama Unit Theatre. I must say that I am enjoying every minute of playing the young Juliet! Taking a leaf out of Peter Hall’s book: “The play is indeed what the theatre creates. And by means of the play, we can imagine one pillar to be the whole of ancient Rome, or an actress in her 30s to be a teenage Juliet.” I continue to enjoy my ‘Indian summer’ moment even with Nina, in The Seagull, but more of that later.
The play you are in is one of the classics of theatre, what is your impression of it?
Anton Chekhov’s Chaika, translated into Maltese as Il-Gawwija, (The Seagull), is, indeed, a superb play. Like all classic works, it resonates with a certain depth.
The plot of the play is simple enough - a group of characters meet in a garden to watch a play-within-a-play, thus giving rise to an arena of moods, which Chekhov’s art demands. Chekhov’s philosophy of life and the theatre is, perhaps, best expressed in his own words: “Let everything on stage be just as complicated and as simple as in life. People eat, just eat, and at the same time, their happiness is being decided, or their lives ruined.”
The Seagull is also well known because it launched the career of theatre director Konstantin Stanislavski, whose production of the play was so successful that to this day the motif of the seagull is to be found on the curtain of The Moscow Arts Theatre.
The Seagull was last staged in Malta way back in the 70s, when Ethel Farrugia, who had herself performed in some Chekhov productions in London, directed a cast that included Karmen Azzopardi and Paul Xuereb for the Atturi Theatre Group.
Roll on 2004, and I cordially invite you not to miss the forthcoming production of Chekhov’s great play, this time by Teatru Ad Hoc.
Can you tell us something about your role and the way you will be interpreting it?
I am playing Nina, a young wannabe actress who dreams of ‘becoming famous above all else’. Nina represents Chekhov’s understanding that you move from a dream world of hope to one of despair and, ultimately, to one of acceptance. Funnily enough, Nina represents an obsession with fame and ‘making it’ in the performing arts. That is very much a moment many young people in Malta are passing through right now.
Speaking of being ‘well-known’ apart from being an actress, you were also a newscaster, and a presenter on TV. Has being in the public eye brought you joy? Unwanted attention perhaps?
Hmmmm… Since I became “famous”, I now wave away all my unpaid bills, while also enjoying a tax-free salary. Designers and restaurant owners compete violently to clothe me and to feed me, and, what’s more, all my travelling is offered free of charge. I love it.
You work full time in Theatre. Can you tell us a bit about your job?
I work full-time at the Drama Unit, within the Education Division, which employs people skilled in theatre, but who are also qualified teachers. Our job is to provide Theatre-in-Education, which is, in essence, projects we either take to schools or which we present in a theatrical set-up.
These projects may vary from classic texts such as Shakespeare’s Romeo and Juliet, which presently is on the O-Level syllabus for literature, or tailor-made projects that tackle social or developmental issues.
We usually present the play together with a pack of workshops/lessons we conduct in the schools as complimentary material, before or after the performance. The aim is not to create actors out of the young students, but to present theatre both as a tool for life, and as an end in itself.
You are also a producer of Theatre, do you find that role rewarding?
At the Drama Unit we have always been encouraged to see to a production through all its phases: departing from a concept, getting a script together, casting the production, designing and directing it, and generally seeing to all the trimmings that go with presenting theatre. So when I started out as an independent producer, I already had a good idea of the mechanics. Production is rewarding because it involves me in the entire creative process, not just on the level of acting. It’s like having the choice between a set menu and an a la carte!
Of course, production has its headaches too and the migraine of all these headaches is always the finances, or rather, the lack thereof. As a producer I depend on the goodwill of a few people who are ready to help out either through publicity in the media or through financial means.
Thankfully enough Professor Joe Friggieri, on behalf of the Arts Council, has once again accepted to help us out, as Teatru Ad Hoc, to stage Anton Chekhov’s Chaika (Il-Gawwija). So a nod of thanks to them, for recognising the need to help finance projects, which are, clearly, not commercial choices. Another nod goes to the management of the St James Cavalier Centre for Creativity, headed by Chris Gatt, for helping out generally, but also for providing precious rehearsal space – another very big headache for any theatre group.
Any theatre-related regrets?
Yes, I regret having to give up an invitation by the Festival Director of the Leipzig Theatre Festival to stage last year’s production of Marat/Sade, and also not knowing before the performance of the same play that one of the audience members would be David Mamet!!
Any future plans?
Yes, to act in the new Theatre that the government will, sensibly, build on the site of the Old Opera House.
Many people would not think of appearing on stage, briefly what does theatre add to your life?
Drama!
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