Stage left, stage right: Sri Lankan theatre at crossroads for growth

 Thusitha Jayasundera (left) and Dr. Kanchuka Dharmasiri

In conversation with Thusitha Jayasundera, UK-based theatre, film and TV actress and RADA graduate, and Dr. Kanchuka Dharmasiri, noted dramatist and theatre academic, they share the ways in which they believe Sri Lankan theatre stands at a crux – both its local and global successes and its yet-to-be-surmounted shortfalls – and how to yield its full potential as a creative industry that can contribute to Sri Lanka’s culture-led economic regeneration.

Both interviewees will be part of the first edition of the Kolamba Kamatha Festival (Instagram @kolambakamatha), a showcase of tri-lingual Sri Lankan theatre, at the BMICH from 27-30 March 2025. 

Q: There’s of course a rich history to Sri Lankan theatre, but as we focus this conversation on the present moment (and projections ahead) – what do you think are 2-3 defining aspects of ‘Sri Lankan Theatre’ and/or ‘Sri Lankans In Theatre’ today, locally and globally? 

KD: One of the defining aspects of Sri Lankan theatre is the resilience and the ability of the artists to create powerful work even in times of turbulence and crisis. It’s remarkable to see the ways in which artists are creating plays using shoestring budgets. We have a scarcity of resources and infrastructure; yet, what is created can be put on par with global productions. People come to this field because they are passionate about the work they do. At the same time, theatre in Sri Lanka has functioned as a powerful forum for political criticism and dissent. 

TJ: I would characterise contemporary Sri Lankan theatre as riotous, varied explorations of form – just this year, I’ve seen a good amount of original work - ‘An Afternoon in July’ by Rajitha Dissanayake, Dear Children Sincerely by Ruwanthie de Chickera, and I did some dramaturgical work on ‘Water for Kings’ by Ramya Jirasinghe. They ranged from surreal comedy noir, to physical theatre documentary, to high verse. All of them were gratifyingly confident in their aims.

The connection and engagement of the work with audiences can be enhanced by speaking to the here and now more. This is of course already happening but, perhaps, we need to do more and more. The Colombo (English) theatre I remember (in the ‘80s and ‘90s) often sought refuge in tried and tested classics from America and mainland Europe. And they could sometimes feel like museum pieces or faithful karaoke – where it is more a feat of virtuosic emulation than original creative expression. Now, I feel Sri Lanka is shedding, perhaps decolonising and forming a more supple new skin.  It won’t happen overnight but the chrysalis is definitely cooking and it will speak in three languages.

Q: Why is the Sri Lankan voice – whether it’s aimed at local or international audiences – of distinct value to the art of theatre? How do you think originality versus adaptation shapes this distinctiveness?

KD: I am not sure whether there is a distinctly Sri Lankan voice as such, but there are multiple and diverse voices coming from Sri Lanka. Many plays focus on contemporary socio-economic, political and cultural issues, both local and global. At times, they capture the voices coming from the margins and hence offer a different view of the mainstream perspectives of life and politics. Theatre in Sri Lanka likewise is a combination of traditional performances and Western theatrical modes. Hence, one finds hybridity in form and content.

Translations and adaptations have played a major role in the development of theatre in Sri Lanka. While some plays are reimagined to address specifically local contexts, others are kept in the original context to give a specific sense of the source. The interactions—and at times the tension—between the two modes have helped foster greater creativity. Translations between our 3 primary languages would widen audiences and enable insightful cross-dialogues.

Q: Artists were very much in the thick of things in 2022. We know system change was a call that you both spoke on, both within the theatre’s purview and society at large. So if we look at this concept applied to the infrastructure that supports Sri Lankan theatre - how is that system? What is working vs. what needs fixing? Or must it be fully overhauled?

KD: Yes, artists were a major part of what happened in 2022. The system change meant different things to different people. The same thing applies to theatre. 

Due to the scarcity of funding and support for theatre, artists find themselves unable to sustain their productions. After a certain number of shows are performed the play slowly disappears from the scene. How do we create a system and infrastructure where theatre practitioners can create work without the fear of facing a huge financial loss and with the assurance that people would actually get to see their work? At the same time, how do we create a system where theatre does not become limited to Colombo (where most of the good theatre spaces are)? 

There is a call to make theatre more professional and to develop the infrastructure, something that is needed urgently. There is also a call for the State to play a more prominent role in the development of cultural life. Now, the challenge here is to think about a way to collaborate with all of these institutions and funding bodies, but also to find a way for the artistic community to maintain their autonomy because external funding can also mean censorship and ideological interference. 

There is a line in the manifesto of the Bread and Puppet Theatre in the US which states that “Art should be accessible to everyone like bread.” Well, quite ironically bread is expensive now and so is the price of art and theatre. So, how does one sustain the arts, especially a genre like theatre, in times of economic crisis? I am glad that the Kamatha Festival is keen on taking up some of these issues for discussion.

TJ: Art needs to be taken as seriously as science and mathematics. State funding needs to be allocated for arts development in all 3 languages. Scholarships should be set up for young talent so they may have the means to develop their potential. If there is a box office and tickets cost money – actors simply must be paid a salary. It is incumbent on all producers to consider best practices so artists can consider theirs a viable professional discipline to be undertaken full-time. An actor’s union would create a sense of stability and protect their working environment. 

Q: Theatre thrives on its connection with audiences. How do you think Sri Lankan theatre can deepen its engagement with audiences, to create a more vibrant and sustainable future? Beyond attending performances - how can attendees engage in ways that help the art thrive?

KD: There are some obvious answers here of course: buying a ticket and attending is the best way to help. Those who are already enthusiasts can encourage others to join them. Also, those who have the ability to do so, can support fund-raising activities. 

And on this same point, we also need to think about spaces beyond Colombo. What would enable decentralisation with connectivity? Is it networking with regional-level small-scale theatres? Black box theatres?   

Q: Thusitha, you went from Sri Lanka to the West End so successfully, but I’m sure it wasn’t a seamless transition. For anyone who might want to have that breadth of a local and global career, what could we be doing at home to better prepare or field the opportunities for our talent? Including potentially more commercial/business support systems such as agents?

TJ: A seamless transition – well it was and it wasn’t I guess. I grew up speaking English to my mum – who was British/Asian and then went from one elite institution (a private school in Colombo) to another (the Royal Academy of Dramatic Art) and then on to the RSC (the Royal Shakespeare Company) for two and half years. There was continuity and familiarity to this – coming from an English-speaking background in a post-colony. 

To be honest – the English language was one of the main things. Access to and playful confidence in the English Language was a critical part of my transition for Theatre in the UK is very ‘talkie’- Its language-based theatre. A young actor is interested in exploring English theatre in the UK – they need to be dexterous with the language. 

In the ‘90s, however, trying to break into the theatre/TV and film industry in the UK as a non-white actor was a pretty demoralising thing. I was lucky enough to fall in with some ‘progressive’ directors who cast me in good roles and kept me in work. Things have improved since, especially in the last 5/6 years and Britain’s diversity is being better reflected by arts organisations there.

About the UK I’d conclude with this - The most straightforward entry into the industry there is by completing 3 years at an accredited drama school. However, if an aspiring actor is interested in physical theatre, they might consider other destinations- India, France, Russia, and Brazil to name a few– which would present another set of challenges of course but be great fun too.

Agents are very useful to helping navigate the industry. And good ones are invaluable. Drama schools devote some of the final year of training to set students up with agents through open evenings - where agents and casting directors attend to watch. 

Q:What makes you most hopeful about the future of Sri Lankan theatre?

KD:  What makes me most hopeful about the future of Sri Lankan theatre is all the remarkable young talent. There has always been a group of people who have been on the periphery of the system, critically looking at the workings of the current system and using their work to imagine different futures and possibilities. We see some very enthusiastic young artists who are keen to create and get audiences involved, knowing that theirs might not be the easiest and smoothest journey. Yet, their creativity and energy motivate them to move forward. This gives me hope for the future. 

As I stated earlier, artists have created works in the most adverse kind of circumstances. Dr. Ranjini Obeyesekere talks about this extensively in her book, ‘Sri Lankan Theatre in a Time of Terror’.  In fact, if we look at theatre historically it was during 88-89, two of the most violent years in Sri Lanka, that the most number of plays were produced. It says something about this art form. It enables the artists to articulate something that they might not be able to do so in another kind of forum. Hence, theatre remains a vibrant space of critique and dissent. It’s inspiring to see young artists using this space to explore political, economic, environmental, personal, and cultural and many other issues. This gives me hope. 

Q: Finally, festivals often catalyse change and collaboration. We heard you both are getting involved with the Kolamba Kamatha Festival, which includes plays, workshops, master classes, demonstrations, panels, and the intent to foster a theatre village atmosphere similar to the Ed Fringe. How do you see this festival playing a role in realising the future you envision for Sri Lankan theatre?

KD: I was thrilled to hear about the Kamatha Festival. What a wonderful idea! The festival aims to foster an atmosphere where people watch theatre, have discussions about what they see and also have conversations about the pragmatic aspects of theatre practice. The Festival also opens a space for artists to showcase their works and theatre enthusiasts to come and interact with artists and fellow theatre lovers. 

At the same time, the KKF is significant because it encourages the idea of a festival rather than a competition. One of the unfortunate factors that affect theatre in Sri Lanka is the focus on theatre competitions. Some plays are produced only for these competitions and there is no encouragement by the organisers to ensure that the plays are shown at least a few times afterwards. Thus, the idea of producing theatre for a wider community and not only for the eyes of a few judges should be encouraged. The Kamatha Festival is a positive step in that direction.