Seminar on creative writing

The English Writers Cooperative of Sri Lanka (EWC) invites those interested to a one day seminar on poetry and short story writing on Saturday, October 19 from 8.30 to 3 p.m. at the auditorium of the Sri Lanka Federation of University Women headquarters at 96/25 Kitulwatte Road, Colombo 08. The seminar will consist of talks, discussions and question and answer sessions by University academics on the various aspects of writing short stories and poems and tips on basic information on publishing one’s work. As numbers are limited please apply by October 10, 2013 to vijita@sltnet.lk) or by post to Vijita Fernando, 16, Welikadawatte Road, Rajagiriya, with name, postal and email addresses and telephone number..

The seminar fee is Rs. 1000 per participant. This can be paid (in cash) at registration on the morning of the seminar. Magdalene and the other women,” says Senaka, recreating the time before the production went on the boards of the Navarangahala.

The beauty of the whole thing was that they used everyday things, according to him, while Nimal points out that the props were so simple and not for them were the luxuries of clip-on mikes. They had to work with hand-held mikes.

The props would be the envy of directors even today -- at the back of the stage were two tables of different heights and all the other sets consisted of tea chests from Stassens.

One side of the tea chests was painted black and became the table for the Last Supper. The moment they were turned onto the other side they became the stand on which the High Priest and other priests stood tall in their flowing kaftans, covering the teachests as well, says Senaka, while Nimal recreates the image of the priests “looking like giants”.

Finally, it was time for the show – along with mishaps galore. There were no stage managers, says Senaka, “everyone managed themselves”.

Fraught with near-misses, the famous tale of Jesus Christ unfolded. Some didn’t know their cues and had to be prodded by others.

Two incidents stand out, etched into their memories. It was time for the Last Supper and the Apostles were carrying plates heaped high with rotti onto the stage, when an enthusiastic Roman soldier eager to join the meal had to be pulled back, chuckles Senaka.

Tense was also the moment when a priest’s voice just did not work and someone off- stage had the

But, by God, what a rush it was to hear the first few bars of ‘Everything’s Alright’, ‘I Don’t know How to Love Him’, and ‘Could We Start Again Please’ and take a bow to rapturous applause!

Just recently I saw the Arena Production in Perth with Tim Minchin as Judas and Mel C as Mary Magdalene. It was a massive production, with all the spectacular ‘son et lumiere’ effects used to full effect. But, exciting as it was, it was not a patch on our production in 1975.

The scenes in Herod’s court, the Council of High Priests, with the lepers and the grand finale with Judas are among the best I have seen anywhere in the world, and the staging of the presence of mind to sing his song.

However, the high-points were also numerous, the “wildest” being the market scene, the audience being taken by surprise when the palm-waving chorus came along the aisles through them in the Hosannah scene and “realistic” was the whipping and scourging scene. With no fancy lighting to aid them, it was the strobe light that created a slow-motion action which brought to life this scene, with the whip being a soft, twisted cloth, says Nimal, while Senaka adds solos was pure magic! I marvel at the innovation, inspiration, and sheer genius of Nimal and Senaka that produced one of the finest musicals in Sri Lankan theatre history and I am so grateful to them for having given me one of the most wonderful experiences of my life.

I believe that when playing a role you have to reach out of yourself. I had to play Pilate and be Pilate. While there may be different interpretations of the role, I saw Pilate as a traditional and oft seen character. To me he was a holder of high office, pompous, pathetic, puppet of the system and coward, afraid to take decisions and pressured by others.

He conveniently passed the buck and washed his hands off major decisions. In the end his act lets evil triumph over good. Does that not make the background and meaning of Christ’s death seem more significant for all time and all years?

It’s so vivid, how can we forget! We profited from all that creative energy, not only in JC but in ‘Life@the Lwendt!’

Talk about the Roman guard who was pulled back stage in the nick of time with his safety helmet (which he used as a bowl) during the Last Supper scene. Or the market scene when I let Menick nearly free fall when I was supposed to prop her up! I enjoyed every bit of it including standing on boxes.

I did bump into our Caiaphas casually that the “lashes” were strokes of lipstick on the back of Jesus.

Of course, the songs that held the audience were ‘I Don’t Know How to Love Him’ by Mary Magdalene and ‘Suffering in The Garden of Gethsemane’, a moving but difficult solo sung with aplomb by Jesus.

So was the dance act after the crucifixion the climax? No, says Nimal. They in fact went “off” the record to clear any misconceptions and bring about the solemnity of the moment after Jesus was cruci- on the streets of Sydney many years ago! Still with that deep voice! I did see ‘JC Superstar’ recently in Sydney. You can tell they spend a lot of money on stage sets and modern technology! But our production of that era wins hands down, without wireless microphones or computers!

Ricky (who was 7 at the time) still remembers his brother Shane (4) doing a head-stand when I used to practise Herod’s song ‘Feed my household with this bread, You can do it on your head’, at home. They are now 45 and 42 respectively and we still reminisce when we meet. fied.

Poignant was the crucifixion but in Sri Lanka’s ‘Jesus Christ Superstar’ of 1975, the climax came from the powerful rendition of ‘Our Father’ sung in four-part harmony by the ‘Children of God’ with all on stage going down on bended knee.

A fitting finale to a production with “timeless” music, relevant even today and for all eternity……... the endorsement coming through a standing ovation at Navarangahala and a clamour for more.