Caliban to rebel again this August

Jehan Aloysius needs no introduction amongst the country’s theatre-going public, being one of the brightest stars in

Sri Lankan performing arts. A self-confessed full-time “theatre practitioner,” he is the Founder and Artistic Director of CentreStage Productions and also runs the StageHands project; a non-profit program that uses theatre to reach out and help people and communities to overcome issues such as suicide, child abuse, domestic violence and many other social issues that plague our society today. Aloysius is an award winner both at home and internationally and has been a part of over 50 productions.

His style of expression is both thought-provoking and refreshing, incorporating heavy messages with spectacularly choreographed dance and music, almost always guaranteeing one a visual extravaganza. Some of his earlier credits include ‘Bengal Bungalow,’ ‘Prince of Egypt,’ ‘Pyramus & Thisby,’ most recently ‘Rag – The Musical’ and a production of ‘Caliban’s Rebellion’ once before. So it gets one pondering what to expect this time around for the new edition of ‘Caliban’s Rebellion’ showing from 23 to 25 August from 7:30 p.m. at the Lionel Wendt, “devised and directed by Jehan Aloysius”. We find out in this interview:

By David Ebert

Q: Caliban, the slave character of Shakespeare’s ‘The Tempest,’ is a character that embodies the issues of enslavement, colonialist repression and the fight for equal rights through his own struggles with his master Prospero. Is there a message in your decision to do Caliban’s Tempest at this specific time?

A: I believe that Shakespeare’s plays are universal, and that any community or society that has been through (or is going through) oppression would be able to relate to the scenario. Sri Lanka has had a history foreign invasions and oppressive forces to overcome and overthrow. Oppression may take new forms as history continues to be written. Where there is tyrannical oppression, there is always potential for rebellion, or for subverting the hierarchies of power.  

Q: Caliban could be best described as a character who is willing and capable of loving, but one who is fully aware of his own sense of self, enough to be angry and hateful toward those who wrong him. What was it about the character that made you decide to do this production?

A: I believe that Caliban has many layers to his character that should be explored and presented to audiences. For centuries Caliban has been demonised as a monster and a halfwit. He suffers indignity due to his colour and made to serve in bondage in which is rightfully his. I also wanted to examine his relationships to the inhabitants of the island, especially his relationship with his white master, Prospero, as well as Prospero’s daughter, Miranda. As many writers in the post-colonial era, I believe Caliban is a symbolic of the relationship between the colonial and the colony, as well as the dichotomy of the white master and black slave. Race, colour, sexuality, power and the politics of nationalism are all layers that make Caliban a much more complex character in my production.

Q: What difference will you be bringing to the character this time?

A: The main difference between my original workshop production in 2008 and this new production is possibly a more completely defined Caliban, who is at once tragic-comic and yet symbolic. Striking the balance between well-executed slap-stick comedy and lyrical poetry is not an easy task for any performer. The task is even more challenging for me as a director, when the actor is a talented newcomer who has to learn all the basics while analysing the role and learning the tough physical aspects of the show. The show is filled with spectacular stage images and our trademark acrobatics, so the entire cast is working hard on learning new skills for the show. I have absolute confidence that the entire cast will make a truly magical evening this August!

Q: What play, musical, screenplay, etc. do you wish you had written and why?

A: Hmmm.... Stephen Schwartz’s musical ‘Wicked’ has great production values, dialogue and music. It’s also a more contemporary sound for musical theatre. I loved every minute of it, when I flew to watch it last year and wanted my name on the credits!    

Q: What is it like being a fulltime playwright? Was it something you’ve always wanted to do?

A: I suppose I’m more of a fulltime ‘Theatre Practitioner’ really, as I happen to write, devise, direct, design costumes and lighting, as well as compose the score to my productions. I enjoy doing these tasks and tend to be a perfectionist to a fault! I have to say I never consider the years put into creating a new play as work. In fact, I find the process to be emotionally and intellectually rewarding. It’s always exciting to create new scenarios and characters, as well as to take an audience on an emotional journey over a couple of hours in the theatre.  

Q: If for some reason you were suddenly forbidden to write plays, what would you end up doing?

A: I would probably compose music and/or devise, transform or ‘bastardise’ other out-of-copyright plays or works of fiction and make them original works in their own right.

Q: What is most helpful to you as you sit down to write a first draft?

A: An idea as to what my characters’ objectives and obstacles are. It helps to have a notion as to who they are, as it will create scenes, situations and strategies. I always have some carefully chosen orchestral music playing when I write, as it helps build emotions and inspire scenarios. Oh yes, ginger green tea as well.

 

Q: Why do you think theatre is important?

A: As writers we are the scribes of our time. We can create and document the experiences of our societies, as well as societies beyond our shores – even those in the realm of imagination. While literature may achieve the same, theatre is audio-visual. It is also played out live, making it an ‘experience’, and breaking past the limitations of screen or printed pages. I believe in doing theatre productions where audiences would feel compelled to interpret, interrogate and even interact with the performance. I believe that theatre is organic and can create different responses with various casts, interpretations and audiences. It is never static. I’m confident that my upcoming production of ‘Caliban’s Rebellion’ will be one such experience for Colombo audiences.

Q: You’ve been heavily involved through your non-profit Stagehands program in using theatre for psychosocial development and therapy etc in the country. How much of a need is there for a system such as that and what new activities is the program involved in right now?

A: I believe volunteer programs such as the StageHands Project are extremely important to society, especially since the theatre-based community projects can create an excellent forum for grappling with social issues, while open up debate and discussion. We have used ‘forum theatre’ to help communities to find group solutions to individual issues that communities may face. These issues include suicide, domestic violence, child abuse, coping with disaster and discrimination. I have also formulated new theatre systems for teaching English as well as for working with physically or intellectually challenged participants. For me, the humanitarian work we do is the most rewarding aspect of theatre, where we can change the lives and attitudes of individuals and communities through the performing arts.