This performing arts season presented a vibrant and diverse array of performances that captivated audiences throughout the year. From exhilarating burlesque shows and thought-provoking theatrical productions, Spazju Kreattiv continued to be a hub of creativity and cultural expression.

As part of the EuroPride festivities, the programme kicked off with the electrifying MalTease (The Queerlesque Edition). This celebration of diversity and empowerment showcased the beauty of burlesque artistry with an all-queer cast. Through glittering performances and bawdy humour, MalTease painted Strada Stretta in rainbows, highlighting the importance of inclusivity and self-expression in the arts. Alongside it was Queer Notions, which offered a musical journey through the works of LGBTIQA+ composers and musicians. With a focus on jazz, classical, and contemporary compositions, the show paid homage to the rich diversity of queer music while exploring themes of identity and expression. Producer and performer Undine LaVerve returned later in the season with the 7th edition of her annual show, featuring an array of international burlesque performers and local talent, further enhancing the appreciation of the art form among the local public.

Another EuroPride event was Polyester Princess, a show that took audiences on a visual and emotional journey, exploring the complexities of body dysmorphia and societal pressures. Through live video mixing and theatrical storytelling, performer Elliot Ditton invited viewers into a world of chaos, anxiety, and ultimately, beauty, sparking conversations about self-image and acceptance. This was followed by the music concert Queer Notions – A Soirée of Queer Music & Literature, which had a fusion of jazz, classical and contemporary music by foremost queer composers. 

The collaboration Improvizza! We Are All Sabir brought together improvisers from 8 Mediterranean countries to promote intercultural dialogue through the power of improvisational theatre. Tackling political and social issues with humour and empathy, the Sabir Project demonstrated the transformative potential of the performing arts in fostering understanding and empathy across cultures.

The Music Series captivated our audiences with melodies and emotive storytelling, offering countless genres and performances to exhilarate the senses. Starting with Cher Camilleri‘s debut album earning critical acclaim, Cher’s sensitive and intuitive artistry inspired audiences to explore new sonic territories. Additionally, Carlos Muscat’s album launch Hymns, was a soul-stirring exploration of jazz and French chansons, transporting listeners to a world of timeless melodies and evocative storytelling. In a similar vein, the jazz collective SFERA launched their first album dedicated to the late Charles ‘City’ Gatt, titled Gatt Groove.

KorMalta‘s Christmas concert once again brought festive cheer to Valletta, showcasing the choir’s talent and spreading joy throughout the community. From traditional carols to contemporary compositions, the concert celebrated the power of music to unite and uplift audiences of all ages.

The season comprised a collaboration with the Austrian Embassy in Malta, bringing to our shores some of the top emerging musicians to perform at our Centre as part of The New Austrian Sound of Music. Firstly, Between Feathers presented a concert featuring a programme for flute, accordion and percussion, which included a newly composed trio with graphical notation. Later in the year, /kry defied categorisation with their eclectic mix of contemporary grooves, avant-garde jazz, and electronica, captivating audiences with their innovative sound and dynamic performances. This partnership introduced audiences to the rich diversity of contemporary Austrian music, inspiring the exploration of new sonic landscapes.

The music strand concluded with a concert by Tricia Dawn Williams titled Tiny Keys – Big Sounds. Audiences were dazzled by a programme featuring toy pianos, electronic music, and small percussion instruments. This project contributes to the growing repertoire by commissioning works from 10 Maltese and international composers, showcasing the artistic potential and expressive possibilities of the toy piano.

When it comes to theatre productions, the season continued with the new play Nostrum, by emerging creatives Benjamin Abela and Brendon Thearle, which delved into themes of grief and friendship, inviting audiences to confront uncomfortable truths about loss and redemption. This was followed by an adaptation by Victor Jacono of Ġorġ Mallia’s book Mitt Ruħ, which entwined the stories of different characters in imaginary situations that sometimes bear an uncanny resemblance to reality.

This was followed by two evenings of The Gaza Monologues, an international project by Ashtar Theatre advocating for the rights of children in Gaza and based on the personal stories of a group of children from Gaza. The monologues have been performed in 80 cities across 40 countries. Additionally, the actors will share works written in the past weeks by children and young people currently experiencing war in Gaza.

At the end of the year, Rajt Malta Timbaram by Kwijns, directed by Ray Calleja with a script by Simon Bartolo, built on the first edition’s success. This entertaining show provided a humorous and imaginative reinterpretation of Malta’s history, envisioning early communities as drag queens.

In its 10th year, Il-Qarċilla, written by Ċikku l-Poplu and directed by Joseph Galea, transported audiences into a world of romance and intrigue, weaving a captivating tale of love and redemption against the backdrop of incarceration. Through its unconventional storytelling and poignant performances, the play offered a thought-provoking exploration of human connection and resilience. 

Is-Snin li Tħoss, directed by Toni Attard with a Maltese translation of Haylee McGee’s script by Clare Azzopardi, offered a charming and honest exploration of life’s ageing journey. Clare Agius’s solo performance captivated audiences with its wit, vulnerability, and profound insights into the passage of time. Similarly, Her Say Not Hearsay had an all-female cast and crew and delved into the lives of three women, unravelling relatable stories of empowerment, menopause, and domestic violence. Through its poignant exploration of the female experience, the three monologues by Lara Calleja, Kim Dalli and Simone Spiteri sparked conversations about gender equality and social justice. 

Tarah Wiċċ Alla produced and directed by Joseph Galea and Carlos Farrugia gave us a fresh take on a traditional Good Friday play, challenging long-standing traditions and sparking new narratives. Tackling the subject of organ donation, the play celebrated the power of art to challenge and inspire audiences.

The Heimlich Hustle followed with a dark comedic exploration of relationships and morality, testing the limits of trust and self-preservation. The new play, directed by Chiara Hyzler and written by Malcolm Galea, kept audiences on the edge of their seats with its blend of humour, suspense, and unexpected twists.

The staging of Henrik Ibsen’s masterpiece Hedda Gabler, with a new translation by Simone Spiteri and directed by Daniel Azzopardi, captivated audiences with its gripping tale of love, betrayal, and societal expectations. Through its timeless exploration of human nature and moral complexity, the play offered profound insights into the human condition that resonated with audiences of all ages.

ENEMY (a peace conference) is the inaugural instalment of a performance trilogy, intricately examining Europe’s tumultuous history of warfare. This touring production, crafted by Mélodie Lasselin and Simon Capelle, delved into the complexities of peace amid past and present conflicts. Through immersive fieldwork and encounters with diverse communities, ENEMY transcended traditional theatre boundaries, utilising dance as a medium for confronting the scars of conflict. As audiences reflected on the evocative narratives woven by the performers, they were invited to contemplate the enduring quest for unity and understanding.

The 3rd edition of the Dance Festival Malta (DFM) emerged as a testament to the power of artistic expression. Originating from humble beginnings, DFM blossomed into a vibrant celebration of dance, showcasing a diverse array of styles and performances. In the shows at our theatre and studio space, audiences were transported on a captivating journey through movement, as they witnessed the rich tapestry of dance unfold before their eyes. 

In conclusion, Spazju Kreattiv continued to push the boundaries of artistic expression, inspiring audiences to explore new perspectives and engage with important social and cultural issues. As a hub of creativity and cultural exchange, Spazju Kreattiv remains committed to fostering dialogue, understanding, and appreciation for the performing arts in Malta and beyond.