• Award-winning playwright to present three-day drama festival starting 20 Jan.

Award-winning playwright Rajitha Dissanayake is bringing back his biennial drama festival, presenting Nathuwa Bari Minihek, Sihina Horu Aran, and 2019 July Mase Dawasak at the Lionel Wendt Theatre from 20-22 January at 7 p.m. The three-day festival has a total cast of 30, and promises to exceed the expectations of the audience.

The Morning Brunch had the opportunity to talk to Dissanayake ahead of the festival, in order to learn more about these productions and the revival of theatre following the Covid-19 pandemic and the economic crisis.

The playwright explained that three to four productions have been staged every other year at the Lionel Wendt Theatre since 2006, making this the ninth festival to be held. He went on to say that the expectation when holding the festival was to present a new production, while also performing older productions and give the audience the opportunity to enjoy them once again. They also hope to give audiences an opportunity to see their productions at a stretch at a key venue like the Lionel Wendt.

In terms of the drama festival taking place this weekend, Dissanayake said they comprise experienced and popular actors, but also novice actors. “During a time like this, they are making a full contribution to their acting and roles, and I invite theatre fans to enjoy these efforts. An audience is one of the main parties in theatre,” he said.

‘Nathuwa Bari Minihek’

First staged in 2016, Nathuwa Bari Minihek won the award for best drama at the 2017 State Drama Festival. It will be staged at the Lionel Wendt Theatre on 20 January. The cast includes Dharmapriya Dias, Gihan Fernando, Bimsara Premaratne, Umali Thilakarathna, Anuradha Mallawa Arachchi, Pasan Ranaweera, and Nalin Lusena.

According to Dissanayake, this play was first staged a year after the defeat of the Mahinda Rajapaksa regime, with the socio-political situation at the time acting as a backdrop for the production. “In the current moment and the political environment, we believe Nathuwa Bari Mihihek is a relevant production. There are people who secure their existence by contributing to the existence of a regime, but when there is a regime change, these people face various challenges, mainly with their beliefs and principles, particularly with regard to race and religion,” Dissanayake said, adding that this was the basis of the play.

‘Sihina Horu Aran’

On 21 January, Dissanayake’s Sihina Horu Aran will be staged, with a cast that includes Nalin Lusena, Ishara Wickramasinghe, Nadeeshani Peli Arachchi, Sudarshana Krishantha, Kasun Chathuranga, Thilakshini Ratnayake, Ashan Perera, and Chaminda Batukotuwa. The production was first staged in 2004, and was named Best Drama at the 2005 State Drama Festival.

“Sihina Horu Aran is mainly about young lives, their dreams and ambitions, the effort they put into making these a reality, and the challenges they face when these dreams fall apart. It is human nature to aspire for a better life, and the barriers to these dreams and ambitions is the central theme of this production. Two decades later, it is still relevant, I feel,” the playwright shared.

‘2019 July Mase Dawasak’ 

One of the more recent plays by Dissanayake, 2019 July Mase Dawasak will be staged on 22 January at the Lionel Wendt Theatre. The cast includes Jayani Senanayaka, Nalin Lusena, Sampath Jayaweera, Anuradha Mallawa Arachchi, Umayangana Wickramasinghe, Prasadini Athapattu, Gihan de Chickera, and Anuk Fernando.

Dissanayake explained that the play is based on a day three months after the Easter attacks and looks at a situation that could have taken place. This too remains a valid production today, and the playwright added that it will help us reflect on the incidents that took place even in the future.

The revival of theatre

Anyone with any interest in theatre is familiar with Dissanayake’s name and his productions. He shared that he has been staging plays at Lionel Wendt Theatre for three decades. 

“Throughout these three decades, the most challenging years were the past few. Even during the war, despite the fear of bombings, the staging of plays didn’t come to a complete halt. There were, of course, certain limitations, with the tsunami and during the very height of the war, but there was no complete halting,” he explained.

However, the field experienced a complete shutdown in the past few years. While many will trace this back to the outbreak of Covid-19 or even the Easter attacks, Dissanayake goes back to October 2018, when the constitutional crisis in the form of a 52-day coup took place. The resulting political instability and uncertainty resulted in certain limitations being imposed, he said, adding that the elections that followed worsened the situation.

The 2019 Easter attacks sparked a fear of gatherings that lasted three to four months, with the Presidential election and then the Covid-19 pandemic further exacerbating the situation. The pandemic was a new experience globally, with even airports suspending operations, and brought local theatre to a complete halt.

Dissanayake explained that never before had theatres and cinemas completely closed down in this manner, although later, with approval from officials, they were permitted to reopen at 50% capacity. “While it was being slowly revived, last year’s protests and the “aragalaya” imposed limits again, and the power, fuel, and economic crises had a significant impact on the sector. Amidst this, in August 2022, we staged 2019 July Mase Dawasak at the Lionel Wendt Theatre – a Sinhala play at this venue after around five months. And from that point on, theatre, which had stalled in Colombo, started up once again.”

And as the sector found new life, Dissanayake was happy to note that venues were attracting a considerable audience. He shared that, in his belief, people turn to the arts and entertainment after times of political or economic stressors. 

“We are experiencing this now. And despite these being difficult times, we hold the belief that people will gather at the theatre.”

The cost of staging a production

While signs of a revival of theatre are welcome, there is another side to staging plays during the current times. Dissanayake shed light on how the overall cost of production has gone up, from the food consumed during rehearsals to the cost of spaces, as well as costumes and props. In addition to this, printing costs have also increased, which makes printing tickets more expensive.

“Theatre prices have gone up, printing costs have gone up, and costs in general have gone up. However, we try to keep ticket prices at a minimum, providing special discounts as well, due to the interest shown by our audience.”

There is also the matter of posters. While we may see notices in the media, especially print media, about the staging of a play, it is the poster that really catches our eye. Dissanayake described the poster as the most unique element of a play, and a component that makes one really feel something about it (“angata danenna”). However, with the issues faced by the printing industry, this unique characteristic of a play is something that they have had to do without.

While social media has been of some use, it is limited to certain circles, which is why they are determined to look for new methods of communicating with new audiences.

Cost has also been a barrier when staging plays outside Colombo. The playwright explained that transport costs have tripled, considering the cost of fuel as well as the cost of spare parts for vehicles.

“Usually, within a year, a play is staged 50 times, but with 2019 July Mase Dawasak, we were only able to stage it 20 times,” he said, adding that they do plan on staging more plays, especially since they have been receiving several invitations to do so.

What can we expect next?

While the drama festival taking place from Friday (20) to Sunday (22) is something to look forward to, we asked Rajitha Dissanayake what else we can expect from him, and if he is incorporating more recent incidents like the people’s protests into a production.

“My practice for the past three decades has been to use theatre as a medium to express my experiences, feelings, and observations as a member of society, linked to the political and social environments of the time, but also my personal life, in terms of love and relationships,” he said, adding that he is mulling the possibility of looking at more recent incidents as a member of society, but also as a critic, and looking at them from different angles, which is something the arts let us do.

“It’s important through arts and beyond to look back at these incidents, at the positives and negatives. Not just with the ‘aragalaya’, but also with the 30-year war, we don’t have sufficient reflections. Our conscience is dead. Our thinking is very limited, and we are a society where thinking or reflection has ended,” Dissanayake went on to say, explaining that in the arts, education, or media, there is insufficient reflection or critique on these incidents.

While saying that we tend to not be a people who learn our lessons, the playwright added that with art, we can provide a space to look at ourselves and society from a fresh perspective. “This has been my attempt so far, and I plan to do so in the future as well.”

Jayani Senanayaka

Actress Jayani Senanayaka plays Nilu in 2019 July Mase Dawasak, a tuition teacher who goes through life with a smile. Senanayaka described Nilu as having a good character who balances her family life. She comes from a middle-class background, has a good social life, is fashionable, and doesn’t hesitate to point out wrongdoings where necessary.

Speaking about the drama festival, Senanayaka said: “We have staged four to five productions during some years, but this year, with financial and practical issues, we limited it to three, as it is difficult to do more at a stretch. However, the theatre group is determined to push forward despite these challenges.”

She added that she was happy to see many drama festivals taking place throughout the country, and not only in Colombo, saying that it was good to see a lot happening with theatre.

“Theatre groups, more than any other sector, make an effort to maintain a relationship with our audience and keep the art alive,” she said, inviting all to attend the festival.

Dharmapriya Dias

Rajitha Dissanayake’s Nathuwa Bari Minihek brings us Dharmapriya Dias as Jayantha, around whom the other characters in the play revolve. The actor described his character as having to sometimes make unexpected decisions for his survival, while considering his family and others as well.

“He is constantly trying to be a man much needed, or a ‘nathuwa bari minihek’, but how successful these efforts are is a question. From outside, he is a very successful man, but from inside, how successful is he? This is the basis of the play,” Dias said. He called the production enjoyable, but added that it is also a delicate, in-depth critique of our social, political, and economic environments, making one think about its underlying meaning and reflect on society through Jayantha’s character as well as the overall play.

In terms of the revival the drama sector is seeing, Dias said, he is happy about this. “We have spent most of our lives in theatre, on stage and at rehearsals, but in the last few years, with the global pandemic and local economic crisis and related issues, theatre was the first to come to a halt. Despite shutting down for three to four years, it is clear that theatre has become a necessity for people,” he shared.

Dias explained that people who are used to watching and enjoying plays haven’t given up on it, and that as people who stage productions, they are also unable to give up the art. He went on to say that Dissanayake holds a festival every two years and does all he can within his capacity. “We still do this because Sri Lanka has a strong and devoted audience,” he said, inviting people to enjoy the festival. He said that there is already a lot of interest, adding: “Nothing makes an actor or director happier than seeing their audience, which is why we invite everyone to enjoy the festival.”

Nalin Lusena

Nalin Lusena plays characters in Nathuwa Bari Minihek, Sihina Horu Aran, and 2019 July Mase Dawasak, and is a costume designer for Nathuwa Bari Minihek. “I consider it a highlight of my career to be able to perform in all three plays by Rajitha Dissanayake. I first started working with Dissanayake 14 to 15 years ago, and I have been performing in his plays over the years. At this festival, I get to perform three different characters,” Lusena said.

In Nathuwa Bari Minihek, he plays a policeman named Sarath, and said he was recognised for his performance in this role at the State Drama Festival in 2017. 

“Sihina Horu Aran is being presented as a new production, with the first production being in 2004. The new production has a fresh cast, comprising talented novice actors. And this is a play in the festival that I have high expectations about,” he said, adding that the play has an excellent script that is a strong critique of politics and human nature.

He worked on the first production of Sihina Horu Aran as well, and at the festival, will play the main character Asanka. He will be reprising a role played by Gihan Fernando, and said that, as an actor, one of his favourite things is to reprise roles and present characters in a new way. This is challenging, he said, but it is still something he enjoys.

In 2019 July Mase Dawasak, Lusena plays Dhanushka. “The play looks at incidents that paved the way for the current political issues in the country and people’s attitudes and perceptions. It’s very important and timely,” he said.

He added that performing in three plays, on three consecutive days at a festival taking place at a venue like the Lionel Wendt under the direction of someone like Rajitha Dissanayake was an important moment in his career.

Speaking about the revival of theatre, Lusena said that with Sinhala theatre, it is very much kept alive by the interest and dedication of the very people who are involved in the field, because there is no real support or funding from the State. “And there are very few people in Sinhala theatre who are in the field with the aim of making a profit.”

Lusena explained that Dissanayake’s speciality is taking his productions not just to audiences in Colombo, but across the island. This has been challenged by the financial issues that many are currently facing, but Lusena added that there is a dedicated audience when it comes to festivals like the one taking place over the weekend.

“We don’t know if things will get worse, so we want to stage a performance for our audience while we can, given the current situation,” he said, adding that the specialty of this festival is that the group has put in a lot of time and effort to it. “If we, as actors, can take Rajitha Dissanayake’s delightful creations to the stage, then the audience that comes to the festival can enjoy a good theatrical experience,” Lusena shared.