The Malta Independent on Sunday
Girl in the Machine
A love triangle between a human couple and a Virtual Reality AI, with the question that drives us all crazy – how far can technology go?
Girl in the Machine opens on the weekend of Friday, 3 December, with more shows on the weekend of Friday, 10th December. Theatre producer and director MICHAEL RICHARDSON is bringing this intriguing performance to Malta this December. Since moving to Malta in 2019, what possibilities for your own work and professional development have you embraced in the local art sector?
Soon after settling in Malta, I worked as Director of TMYT at the Manoel, and later as Director of Productions for Toi Toi. Then, after 18 months, I decided to move on to being an independent theatre producer and director. I am currently working on Girl in the Machine for Spazju Kreattiv and have other projects in the pipeline. I am also Director of Ignite, a new Maltese youth theatre owned and managed by young people for young people, and a part-time lecturer within the University of Malta’s School of Performing Arts. I am also proud to be a member of the Atelier Francis Ebejer, a professional development initiative jointly provided by Teatru Malta, Spazju Kreattiv and Teatru Manoel.
Your upcoming Sci-fi drama, Girl in the Machine, is a play that involves only two actors. How is it to work with a small cast?
Tina Rizzo and Gianni Selvaggi are excellent actors, so working with them has been a delight.
With a small cast, we can work more intensively, spend more time on each character, dig deeper into every moment of the play. This intensity also forces a collaborative rehearsal process, where everybody contributes to the look and feel of the finished product, and this inevitably increases the quality of the production.
At the same time, there is nowhere to hide. If the material we are working on becomes overpowering, there are only a few people around to lighten the tone. I am lucky, however, to have a three-strong stage management team in rehearsals as well as visits by designers, so although the cast is small, the production company is not: there are definitely people who can lift the mood in the room when needed.
How did you go about building the creative team behind the play?
The cast was clear from the beginning. For the production team, besides looking for creative and committed individuals I have always tried to promote women to positions of responsibility throughout my career, and this project is no exception. In fact, over two-thirds of the team are women.
I have also tried to involve people with connections to the south of Malta. Birgu is currently leading a regional consortium in applying to become the EU Capital of Culture in the early 2030s: for this to be successful, we will need a community of trained and experienced artists and theatre technicians to support that project.
Polly and Owen seem to be complete opposites. One is a career-driven gadgets lover, and the other is a technophobe living mindfully. Which character do you like more and why?
I think of Polly and Owen as two sides of the same coin. Most people have elements of both characters, me included. I like Owen more, but that is because I would like to be more like him. Putting down my phone, knowing when to stop working, and enjoying relaxing hobbies. But I am more like Polly, so how could I say I dislike her? If I wasn’t like her, I would never get my job done. I just need to remember to be more Owen.
With META working on a new metaverse, having something similar to the technology portrayed in Girl in the Machine in the near future doesn’t seem too far-fetched. Would you use the device if given the opportunity in real life?
Absolutely not! Come and see the play - my reasons will be crystal clear.
What are the other reasons people should come to see the play?
The play tackles issues and potential consequences feared in the real world by Zuckerberg’s ambitions for META. So many people are already questioning whether we have been forced to become too dependent on technology or not. The play provides a springboard from which people can genuinely think about what they want from the technology they use and how they can balance real life and experiences in the virtual world.
Plus, it is brilliantly written by Stef Smith and beautifully acted by Gianni and Tina. There is spine-tinglingly evocative sound by Alec Massa and music by Matteo Depares. Visually, the design by Isabel Warrington superbly illustrates the effect of technology on Polly and Owen’s marriage while at the same time integrating with Matthew Gellel’s lighting design to stunning technical and technological effect. Why would you miss it?
Girl in the Machine which is part of the Spazju Kreattiv Programme 2021/2022 opening from December 3rd and continues its run until December 12th at Spazju Kreattiv Theatre. Tickets start at €15 and can be purchased on www.kreattivita.org.