Blanket Ban is written by Marta Vella and Davinia Hamilton.
In what may be local theatre’s answer to author Loranne Vella’s Marta Marta, Blanket Ban finally opens in Malta this week. Reviewed by The Guardian as “a startling account of abortion laws in Malta“, it’s written by Davinia Hamilton and Marta Vella , who also act in it. And they know exactly how they feel about abortion laws in Malta – if something is so controversial that people are afraid to even talk about it, then that’s exactly why it needs to be talked about. Here, they share their thoughts ahead of curtains up.
Blanket Ban is both a deeply personal and political play. What was the catalyst that made you decide to create this piece?
Davinia: Marta and I had already been planning to collaborate on something, but we weren’t sure on what. In 2019 the tide began to turn in Malta, with the first-ever pro-choice rally taking place. And when we read that news, it just clicked for us. This was the story we wanted to explore, not just as an abstract political issue, but as something that was affecting real people in ways that weren’t being acknowledged.
With our combined backgrounds in theatre, journalism, and activism, we wanted to create a piece that not only told the truth but also made people feel the weight of that truth. That’s why we focused on speaking to women who had sought abortions, those who had travelled abroad, and activists fighting for change. In terms of motivation, it was a mix of frustration, anger, hope. And above all, the belief that theatre has the power to make people listen in a way that facts and figures alone cannot.
Marta: I remember it like it was yesterday. Davinia and I had long mentioned that we wanted to work on something together but we had never locked anything down. Then this one evening in 2019, I was over at her flat in London and we were reading the news about the first ever pro-choice rally. We were very inspired by the work these activists were doing, by their bravery in making themselves visible. We wanted to be part of that conversation so we thought ‘let’s make a show then!’. And here we are, six years later.
How did your own experiences/those of your friends shape the way you approached writing and performing this story?
Davinia: We both had friends who had had abortions but were forced to do so in secret. Seeing people we cared about go through this in isolation, knowing they couldn’t openly talk about it or ask for support, made the issue feel deeply personal. The process of gathering stories was incredibly emotional. Speaking to people who had lived through this was both heartbreaking and humbling. We felt a deep responsibility to honour their trust and represent their realities with as much honesty and care as possible. Some of the stories we kept verbatim; others we dramatised, but always in a way that was shaped by the truth of what had been shared with us. Rather than imposing a structure onto the play from the outset, we let the voices of the people we interviewed guide the way we told the story.
Marta: Before we delved into the work we asked ourselves what we could bring to the table that isn’t already out there. Anyone could find stories and testimonials on Google, for us it was important to learn more, listen first hand and convey what these stories made us feel. It was a mix of fear, compassion, deep sadness and immense rage towards the system.
Did you face any personal fears or hesitations when deciding to take on such a controversial topic?
Davinia: Yes, of course. We knew from the start this was a taboo subject in Malta, and that taking it on would be a risk. There was always the worry of how people would react: whether we’d be judged for speaking out; whether we’d face hostility. But that apprehension only reinforced why this play needed to exist. If something is so controversial that people are afraid to even talk about it, then that’s exactly why it needs to be talked about.
Marta: We knew it wouldn’t be a walk in the park and we had extensive conversations about how far we’re willing to go. Ultimately we realised that whatever we’re feeling doesn’t even scratch the surface of what the women going through this process is. This has never been about us. Whilst we acknowledge that this journey hasn’t always been easy, we’re fully committed to it.
Have you encountered any attempts to silence or discredit your work? If so, how have you responded?
Davinia: Yes, we’ve received hateful comments, particularly online. That said, while the backlash was expected, what has stood out even more is the support. For every hateful comment, there have been people reaching out to thank us for doing this work, to tell us that they’ve been waiting for this conversation to happen. And we have been heartened by the wonderful response we received in the international press. As for how we respond: we try to focus on the people who are open to the conversation. Our goal was never to fight with those who refuse to listen. Blanket Ban is for those who need it, who want to engage with these stories and see themselves reflected on stage. And based on the overwhelming response we’ve had internationally and in Malta, we know that audience is very much there.
Marta: That’s probably the reason why it’s taken us five years to bring Blanket Ban to Malta. We wanted the piece to stand on its own two feet as a strong artistic piece with reviews, coverage and testimonials to attest to that. People are free to not agree with our stance on the issue but we stand very proud of the work that we’re presenting.
What impact do you hope Blanket Ban has on people who are undecided or unaware of the realities of abortion laws in Malta?
Davinia: I hope Blanket Ban opens a space for people to think more deeply about this issue. It’s easy to have an abstract opinion on abortion when you’ve never been directly affected by it, but hearing real stories makes it impossible to ignore the consequences of these laws. For those who are undecided, I don’t expect the play to instantly change their stance, but I do hope it encourages them to approach the topic with more compassion and curiosity. We ask people to come and watch Blanket Ban with an open heart.
Marta: I hope Blanket Ban encourages people to move beyond knee-jerk reactions and consider the complexity of this issue with nuance, compassion, and understanding. It’s easy to judge when something feels distant from your own life, but once you listen to real experiences, it becomes clear that this is not a black-and-white issue. Even if people don’t fully change their perspective, I hope they at least recognise that criminalising women for making difficult decisions helps no one. At the very least, we should be able to agree that sending a woman to prison for having an abortion is not the answer.
Since premiering the play, have you heard from women who have been directly affected by Malta’s abortion laws?
Davinia: Even before the play was staged, as soon as word got out about the work we were doing, women started reaching out to us. They wanted to tell their stories because they felt they could no longer carry the burden alone. Many of them had endured their experiences in silence, afraid of judgment or legal consequences, and knowing that someone was finally shining a light on this issue made them feel seen. Everywhere we’ve performed, audience members have come up to us to share their stories. The response has been overwhelming, and it reinforces why we created Blanket Ban in the first place: to hold space and give a voice to those who have been silenced.
Marta: Almost after every show, people came up to us to share their own stories and experiences. It was a clear sign of how much people want and need to offload – stories that had often been carried in silence for years. Both men and women, from Malta and beyond, opened up about their personal connections to abortion and reproductive healthcare.
Some shared their experiences of having an abortion, often speaking about the fear, secrecy, and isolation they felt. Others spoke about the consequences of Malta’s laws in ways that extended beyond their own lives. One man told us how he lost his sister in the 1970s because her husband was forced to choose between saving the baby or his wife – he chose the baby, and the high-risk pregnancy ended up killing her. She had no option to terminate.
What struck me the most was how many people I’ve known for years only felt comfortable sharing their personal stories after they found out I was doing the show. It reinforced just how deeply these laws affect people and how much silence and stigma still exist. Blanket Ban became a space where people could finally say: “This happened to me.”
Malta’s strict anti-abortion laws are often framed as a reflection of national identity and Catholic values. How does Blanket Ban challenge this narrative?
Davinia: The narrative that a ban on abortion is somehow an essential part of our identity doesn’t reflect the full reality of Malta or its people. Our laws, our values, and our society have changed over time, even when it has seemed impossible. So the idea that abortion laws must remain frozen in time because of ‘national identity’ just doesn’t hold up. We challenge the idea that everyone in Malta agrees with these laws. By bringing real stories to the stage, Blanket Ban makes it clear that there is no single ‘Maltese identity’ on this issue; there are many voices, many perspectives, and many people who are ready for change.
Marta: Malta is full of paradoxes. On paper, it’s a country that prides itself on progressiveness – leading the way on LGBTQI+ rights, divorce, and other social issues. Yet, when it comes to abortion, there’s this immovable block, as if the conversation is frozen in time. Blanket Ban exposes the contradictions in a country that celebrates personal freedoms while simultaneously denying women bodily autonomy. It also highlights the many Maltese who don’t fit into the rigid, monolithic narrative of “national identity” that is used to justify these laws. Through real stories and dark humor, the play forces us to ask: If we’ve evolved on so many other issues, why is this the one place where we refuse to move forward?
Over the past few years, we’ve seen the start of an abortion debate in Malta. Do you think real change is possible in the near future, and if so, what will it take?
Davinia: I do believe change is possible, because we’ve seen the conversation shift in ways that would have been unthinkable just a few years ago. The fact that we now have pro-choice organisations, and even that we’re having a public debate on abortion, is a significant step forward. But real change doesn’t just happen on its own. It will take continued pressure, activism, and, most importantly, storytelling. The biggest obstacle in Malta has always been silence – the idea that abortion doesn’t happen here, that no Maltese woman would ever need one. The more people speak out, the harder it becomes to ignore the reality that abortion isn’t an abstract issue; it’s something that affects people in Malta every single day.
Marta: Yes, I truly believe change is possible. We’re already seeing a shift – people’s minds are opening, they’re willing to listen, and the conversation is no longer completely off limits as it once was. The more people realise that abortion isn’t some distant, abstract issue but something that directly affects their sisters, cousins, colleagues, and best friends, the harder it becomes to ignore. Real change will take continued dialogue, visibility, and, most importantly, compassion. It will take more people speaking up – sharing their stories, challenging misinformation, and refusing to let fear control the conversation. The silence around abortion in Malta is breaking, and once that process starts, it’s very hard to turn back.
What do you say to those who argue that discussing abortion openly in Malta is too ‘divisive’ or ‘not the right time’?
Davinia: If not now, then when? Silence doesn’t mean consensus. It only means that those who are suffering have been left to do so alone. The reality is that abortion is already happening in Malta. Women are travelling abroad, ordering pills online, making impossible choices in secret. Ignoring that reality doesn’t make it go away. In fact, refusing to talk about it only deepens the stigma and isolation that so many people experience Every major social change in history has been called “too divisive” at some point. Divorce, LGBTQ+ rights, even basic women’s rights were once seen as too controversial to discuss. But if we had waited for the “right time” to talk about those issues, we’d still be waiting. Progress doesn’t happen by avoiding difficult conversations; it happens when people are brave enough to have them. What Blanket Ban does is offer a space for that conversation to begin, not with hostility, but with honesty and empathy. And the fact that so many people are engaging with it tells us that Malta is more than ready.
Marta: I think Davinia summed it up perfectly and I have nothing to add, to be honest.
Theatre has long been a powerful medium for activism. What do you think Blanket Ban achieves that a straightforward political debate or news report cannot?
Davinia: A political debate is about proving a point. A news report presents information. But theatre allows people to step inside someone else’s experience and understand it on a visceral level. With Blanket Ban, we’re bringing real voices and real experiences to the stage. You’re seeing the fear, the frustration, the isolation, but also the moments of resilience, solidarity, and even humour. That emotional connection is what makes theatre such a powerful tool for activism. In a political debate, people often come in with their minds already made up, ready to argue their position. But in a theatre, they sit in the dark, they watch, they listen. There’s a different kind of openness that comes with that.
Marta: Unlike a political debate or a news report, Blanket Ban doesn’t just present arguments – it makes the issue deeply personal. By writing ourselves, Marta and Davinia, as characters in the show, we’re not positioning ourselves as detached commentators but as people who have grappled with this subject in real, messy, human ways. Our personal struggles, conflicting feelings, and the weight of navigating this issue within a Maltese context are all woven into the narrative. Theatre allows for nuance in a way that political discourse often doesn’t. It’s not about winning an argument—it’s about inviting the audience to sit with the discomfort, the contradictions, and the real human stakes. There’s power in seeing vulnerability on stage, in laughter breaking tension, in silence holding weight. Blanket Ban doesn’t just tell people what the problem is – it makes them feel it. And that, more than any debate or headline, has the potential to shift perspectives.
What’s next for Blanket Ban?
Davinia: We are very glad to be rounding up an amazing five years of this show by bringing it home at last. We are both busy artists with so many projects on the go, but it’s a real privilege to be performing Blanket Ban here now. As for the future: we’ll see! Blanket Ban will go wherever it is needed.
Marta: This show has taken us on a journey that we couldn’t have ever predicted. We are grateful for what was and ready for whatever the future might bring!
Blanket Ban is directed by Vikesh Godhwani and runs at Spazju Kreattiv on March 7, 8, 9, 14, 15, and 16 at 8pm (Sundays at 7pm). Tickets here. A review will follow.
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