Jehan Aloysius is indeed a man of many talents. He humbly prides himself on being a full-time theatre practitioner, a playwright, a director, and a performer, and he also heads his amateur theatre troupe, CentreStage Productions, which he founded in 2001.
Aloysius’ play Mind Games was recently shortlisted for the Gratiaen Awards as well. Brunch had an interesting chat with Aloysius about his life’s work.
Following are excerpts of the interview.
What made you venture into the performing arts industry?
I was always interested in the performing arts. I first stepped onto the Lionel Wendt stage at the age of five to perform in the ensemble when my dad, Dr. Hubert Aloysius, performed his famous rendition of Ol’ Man River. I used to write plays in school. I loved acting and would direct as well. Four of the productions I directed for my alma mater, St. Joseph’s College, won at the All Island Shakespeare Drama Festival. I also directed a massive production of Prince of Egypt.
But it was the Boxing Day tsunami that compelled me to give up my job in advertising to focus full-time on theatre for social change.It was training in psychosocial development and working in tsunami camps around Sri Lanka that changed my life. I realised I really wanted to continue to make a change though the performing arts. So I spoke to my mother and then my boss to explain that I wanted to do theatre and social work. The first question both asked was: “How will you pay your bills?”
Sixteen years later, I’m still figuring the answer to that. Theatre to me was always a passion, and never a business or a job.
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"Take time to reconnect with life. I realised I had been focused on work for almost two decades and had not taken time to think about emotional fulfillment. Lockdown and social distancing actually allowed me to rediscover myself and was life-changing in a way" Jehan Aloysius[/caption]
Of all the plays you’ve been in, which one was your favourite and why?
Well, it’s hard to pick one. I'll give you two. Les Miserables, playing Jean Valjean, was the first most challenging role I played. It also helped launch me in a way as many recognised me for that role. Much later, playing Joseph in Rag - The Musical was very special since I had spent over a decade composing, writing, and directing it as well. The fact that BBC picked up the story and it became world news was a thrill!
Have you ever had to improvise mid-play?
Oh yes. This happens in farcical comedies when actors miss entrances or forget lines. But when I played The Phantom of the Opera, my knee dislocated and I snapped some tendons during the show, since the director wanted me to jump into a trap door. I could not put my knee back in and did several scenes while my leg was dangling. I managed to get in before the final scene but could not walk. So I got another actor’s prop walking stick, and Dushyanth Weeraman put his knee guard over my costume. I got through it and left for the hospital in an ambulance. I received a standing ovation that night too, but it was special. I was on crutches for three months and still need to get reconstructive surgery done.
What are some of the challenges you’ve faced as a theatre practitioner?
Well, funding is an issue. One can’t make money through theatre alone. So I handle corporate events and other related projects as a professional to pay my bills. However, since my troupe has been consistently staging original work and not foreigners’ scripts for 20 years, we still always face the challenge of convincing sponsors and partners to join and support the productions.
We have created so many shows that have been staged and performed overseas and around Sri Lanka, and also have a great overseas following. We have even represented Sri Lanka overseas at theatre festivals around the world almost every year for the last 20 years, including Asia’s largest theatre festival and the Theatre Olympics. But only once did we get some support from the Government towards even our international flights to represent the country. Even that one occasion was only part of the airfare, but that was at least something. I always bear the cost since I can’t expect the performers to find this.
The last two years since the Easter Sunday attacks were brutal for theatre practitioners. I haven’t staged a play in over two years, thanks to the pandemic affecting Sri Lanka as well. We had to cancel and postpone so many shows and events.
When writing a play, where do you draw your inspiration from?
Most often it’s from my personal experiences and life. Stormy Weather was one of those plays I wrote from a dream, or should one say nightmare. Most of all, I write about what I’m most passionate about.
It’s my way of conveying my perspective or vision to my community. I’m thrilled that some of my scripts have stimulated discussion and debate on topics that were often swept under the carpet. I try not to use theatre for a message, by trying to be as objective as possible. It’s up to the audiences to decide and I hope the decision would be a positive one.
Your recent play was shortlisted for the Gratiaen Awards. Tell us about the play and how you felt when you found out about being shortlisted.
I was thrilled that Mind Games was shortlisted for the Gratiaen Prize, which is the most prestigious prize for literature. This is the third time – I’ve been shortlisted before – so I guess I’m used to losing to a better writer. This year too has a solid list of authors, so I’m prepared to accept the shortlist as the prize itself. My cup is full.
Mind Games is a play that is very close to my heart. I’ve been wearing it for a couple of decades actually, since it’s a story that has a very real experience in it for me. The script deals with the issue of mental health and domestic abuse. The protagonist is a string feminist who is in a constant battle with the patriarchal forces and attitudes that attempt to dominate and demonise her due to her gender, creativity, voice, and mental condition.
How do you think the pandemic will affect the theatre industry, and do you have suggestions on how to keep it running?
As mentioned before, the pandemic has had a brutal effect on theatre around the world. As creative people, we always need to be able to adapt and change direction while keeping the momentum going. One should never pause to whine but keep active and creative. Our rehearsals now happen online. Zoom helps.
Also, take the time to prepare a strategy to recover the funds used to survive the pandemic. Plan events, shows, write scripts, and devise ideas. These don’t need groups and are solitary activities that benefit from isolation and quiet.
Out of all of your areas of specialisation, which one do you enjoy the most and why?
I enjoy the process of writing my plays and composing music most of all. These are thankfully lonely tasks, so for me, the present pandemic has not affected that. I also spend more time refining, revising, and rewriting my creative works. My hapless friends and actors occasionally receive two to three versions in a day for some scripts. I’m a perfectionist to a fault, but I’m happy to say so.
Do you have any plans for 2021?
Well, we are unable to fix dates due to the evolving nature of this pandemic. We are already working on staging Venus United, my bold musical on women’s empowerment. The launch concert at the British Council was cancelled the day before the show in March 2020 and the fully staged performances at the Lionel Wendt theatre were postponed twice in August and November last year. I have been working with the amazing ladies in my cast through this.
I also plan to stage some smaller shows at select venues for exclusive audiences adhering to safety guidelines in the new normal. Some of these shows are musical and some are short plays. But all of these events will be experiential and I’m sure audiences will be thrilled when they can finally safely come for these.
"Take time to reconnect with life. I realised I had been focused on work for almost two decades and had not taken time to think about emotional fulfillment. Lockdown and social distancing actually allowed me to rediscover myself and was life-changing in a way" Jehan Aloysius[/caption]
Of all the plays you’ve been in, which one was your favourite and why?
Well, it’s hard to pick one. I'll give you two. Les Miserables, playing Jean Valjean, was the first most challenging role I played. It also helped launch me in a way as many recognised me for that role. Much later, playing Joseph in Rag - The Musical was very special since I had spent over a decade composing, writing, and directing it as well. The fact that BBC picked up the story and it became world news was a thrill!
Have you ever had to improvise mid-play?
Oh yes. This happens in farcical comedies when actors miss entrances or forget lines. But when I played The Phantom of the Opera, my knee dislocated and I snapped some tendons during the show, since the director wanted me to jump into a trap door. I could not put my knee back in and did several scenes while my leg was dangling. I managed to get in before the final scene but could not walk. So I got another actor’s prop walking stick, and Dushyanth Weeraman put his knee guard over my costume. I got through it and left for the hospital in an ambulance. I received a standing ovation that night too, but it was special. I was on crutches for three months and still need to get reconstructive surgery done.
What are some of the challenges you’ve faced as a theatre practitioner?
Well, funding is an issue. One can’t make money through theatre alone. So I handle corporate events and other related projects as a professional to pay my bills. However, since my troupe has been consistently staging original work and not foreigners’ scripts for 20 years, we still always face the challenge of convincing sponsors and partners to join and support the productions.
We have created so many shows that have been staged and performed overseas and around Sri Lanka, and also have a great overseas following. We have even represented Sri Lanka overseas at theatre festivals around the world almost every year for the last 20 years, including Asia’s largest theatre festival and the Theatre Olympics. But only once did we get some support from the Government towards even our international flights to represent the country. Even that one occasion was only part of the airfare, but that was at least something. I always bear the cost since I can’t expect the performers to find this.
The last two years since the Easter Sunday attacks were brutal for theatre practitioners. I haven’t staged a play in over two years, thanks to the pandemic affecting Sri Lanka as well. We had to cancel and postpone so many shows and events.
When writing a play, where do you draw your inspiration from?
Most often it’s from my personal experiences and life. Stormy Weather was one of those plays I wrote from a dream, or should one say nightmare. Most of all, I write about what I’m most passionate about.
It’s my way of conveying my perspective or vision to my community. I’m thrilled that some of my scripts have stimulated discussion and debate on topics that were often swept under the carpet. I try not to use theatre for a message, by trying to be as objective as possible. It’s up to the audiences to decide and I hope the decision would be a positive one.
Your recent play was shortlisted for the Gratiaen Awards. Tell us about the play and how you felt when you found out about being shortlisted.
I was thrilled that Mind Games was shortlisted for the Gratiaen Prize, which is the most prestigious prize for literature. This is the third time – I’ve been shortlisted before – so I guess I’m used to losing to a better writer. This year too has a solid list of authors, so I’m prepared to accept the shortlist as the prize itself. My cup is full.
Mind Games is a play that is very close to my heart. I’ve been wearing it for a couple of decades actually, since it’s a story that has a very real experience in it for me. The script deals with the issue of mental health and domestic abuse. The protagonist is a string feminist who is in a constant battle with the patriarchal forces and attitudes that attempt to dominate and demonise her due to her gender, creativity, voice, and mental condition.
How do you think the pandemic will affect the theatre industry, and do you have suggestions on how to keep it running?
As mentioned before, the pandemic has had a brutal effect on theatre around the world. As creative people, we always need to be able to adapt and change direction while keeping the momentum going. One should never pause to whine but keep active and creative. Our rehearsals now happen online. Zoom helps.
Also, take the time to prepare a strategy to recover the funds used to survive the pandemic. Plan events, shows, write scripts, and devise ideas. These don’t need groups and are solitary activities that benefit from isolation and quiet.
Out of all of your areas of specialisation, which one do you enjoy the most and why?
I enjoy the process of writing my plays and composing music most of all. These are thankfully lonely tasks, so for me, the present pandemic has not affected that. I also spend more time refining, revising, and rewriting my creative works. My hapless friends and actors occasionally receive two to three versions in a day for some scripts. I’m a perfectionist to a fault, but I’m happy to say so.
Do you have any plans for 2021?
Well, we are unable to fix dates due to the evolving nature of this pandemic. We are already working on staging Venus United, my bold musical on women’s empowerment. The launch concert at the British Council was cancelled the day before the show in March 2020 and the fully staged performances at the Lionel Wendt theatre were postponed twice in August and November last year. I have been working with the amazing ladies in my cast through this.
I also plan to stage some smaller shows at select venues for exclusive audiences adhering to safety guidelines in the new normal. Some of these shows are musical and some are short plays. But all of these events will be experiential and I’m sure audiences will be thrilled when they can finally safely come for these.