When it’s gone past midnight and you’re still heatedly debating a play that you saw earlier that evening, well that there is an excellent sign of the impact of the production. And Kif Tgħallimt Insuq (Du’ Theatre, Theatre Next Door) certainly leaves an impact. The play has been translated to Maltese from the original Pulitzer-winning script by Paula Vogel and it brings together an experienced cast and crew in a one hour and 40 minute-long emotional denouement.
Before getting to the proper review, here are the essential details.
Kif Tgħalllimt Insuq – dates & other information
| Play | Kif Tgħallimt Insuq |
| My rating | ⭐⭐⭐⭐🌟 (4.5/5) |
| Produced By | Dù Theatre |
| Dates | March 1, 2, 7, 8, 9, 14 |
| Time | Fridays & Saturdays at 8PM, Sundays at 7.30PM |
| Content warnings | Grooming, sexual abuse, emotional manipulation |
| Venue | Theatre Next Door |
| Duration | Approximately 1hr 40 minutes, no interval |
| Ticket price | €23 |
| Booking | Official website |
| Language | Maltese, with English surtitles |
| Accessibility | Elevators present |
Table of Contents
Kif Tgħallimt Insuq Narrative – the survivor of abuse reclaims control
Kif Tgħallimt Insuq takes the dark themes of grooming, sex abuse and manipulation and injects humour, nostalgia and even empathy. As an audience, we go through these disturbingly conflicting emotions that we wouldn’t normally associate with such topics, but that somehow serve to come together in an even more devastating statement.
The tale is recounted from the point of view of Iż-Żgħira (Simone Spiteri) – definitely more of an indomitable survivor than a victim. The non-linear narrative jumps haphazardly through her childhood, teenage years and young adulthood. Each vignette feeds us new information without spelling out exactly what is happening, using the driving lessons that Ziju Peck is giving Iż-Żgħira as a metaphor for something much more sinister.
Iż-Żgħira is being groomed by Ziju Peck (Peter Galea) – that much is obvious from the very first time we meet both. But the script is cleverly ambiguous, thrusting us into a confusing, morally-grey area. It even makes us question whose fault it really is at one point, in a classic case of family complicity and women leading the victim blaming. The carpet is eventually pulled from under our feet, as each scene gradually uncovers an entire mosaic of horrific abuse. The extent of this abuse is only fully-revealed in the end, with one crushing piece of dialogue.
This is a heavy play to handle, there’s no two ways about it. But ultimately, Kif Tgħallimt Insuq is also about the survivor snatching back control. It’s about forgiveness, catharsis. About facing our demons squarely and then leaving them behind. Unlike other productions that deal with similar themes, Iż-Żgħira retains full control throughout.
Rather than the angry confrontation, such as that served by David Harrower in the similarly-themed Blackbird, the protagonist’s journey is kinder to herself, letting go of the anger to finally acknowledge exactly what has been done to her and walking away to start her life anew.
The translation to Maltese
Simone Spiteri’s translation to Maltese is excellent, capturing the natural flow and idiosyncracies of the language – down to Iż-Żgħira, a pet name we’re very familiar with in the context of family. Typically denoting affection and protection, its connotations here are twisted into something ugly. Spiteri’s treatment of the Greek Chorus of five is particularly impressive, translating their collective voice into incisive, often absurdly comedic, Maltese.
Direction & Staging
Kif Tgħallimt Insuq is directed by Chiara Hyzler, who is fast building a reputation for handling disturbing themes with sensitivity. Her direction of In Other Words two years ago did for dementia what she now does for the abuse of minors in Kif Tgħallimt Insuq, shining a light on suffering with never a hint of moralising or melodrama. Hyzler allows the power of Vogel’s narrative to speak for itself, keeping its authenticity intact.
The staging is minimal, the only significant props being the powerful car headlamps. These were simply too bright on a couple of occasions – while I see the significance behind this choice, blinding the audience is never a good idea.
The non-linear aspect of the narrative is strenghtened by Hyzler’s decision to keep the dismantling, moving, and creation of props in full view of the audience, serving as a clear transition between timelines and reminding us that what we’re seeing are fragmented recollections. There were occasional moments when the navigation between Spiteri and the prop-builders in the background was awkward, disrupting the fluidity on the scene, but overall the technique worked extremely well.
Kif Tgħallimt Insuq – excellent cast & performances
Spiteri and Galea successfully immerse us in this disturbing, intimate world of Ziju Peck and Iż-Żgħira. Vogel’s Uncle Peck is charismatic, far from being overtly depicted as a monster. Galea – whom we last saw in Id-Dnub tal-Magħzulin – nails this, regaling us with a layered interpretation that makes us constantly shift our evaluation of Ziju Peck. Just like in James Ortiz’s The Woodsman, the abuser is humanised, shown to be caring and emphatic – character traits which are eventually revealed to be nothing more than manipulative techniques that are part-and-parcel of the grooming process.
Galea reaches peak creepiness in a very effective scene with Iż-Żgħira’s cousin BB (Adam Ryan). It is here that we start comprehending the full extent of the abuse that has been going on. Galea’s masterful handling of the quiet, congenial monologue makes our skin crawl in a devastating portrayal of pure evil. The scene also owes its success to Ryan’s lethal portrayal of the shell-shocked young cousin; relying completely on his facial emoting, with zero dialogue to speak of, the actor conveys his overwhelming fear and pain to the horrified audience.
Spiteri is no stranger to complex and powerful female leads, as we’ve seen in her recent Għanjiet il-Baħħ. Here, she is powerful and breathtaking in her portrayal of Iż-Żgħira. Her seamless transitions from a 13-year-old all the way to a young adult are not only credible, but deeply immersive. From teenage mannerisms, to cynical teenager and introspective young adult, her nuanced performance haunts us for long after we walk out of the theatre. And she transforms Iż-Żgħira from victim to a powerful narrator who crediby reclaims her life, displaying maturity in her final acknowledgement that her abuser was likely to have been himself abused.
The Greek Chorus provides much-needed comedic interludes. Maria Buckle as Ziju Peck’s wife Lucy and Iż-Żgħira’s aunt (and as part of the chorus) deserves particular recognition. Her role may not be big, but it is crucial in establishing the culture of complicity. Her monologue – an exercise in victim-blaming while excusing the perpetrator – should make us angry. Instead, we’re just left feeling sad and sorry for this woman who has also been broken by her husband.
Verdict – Is Kif Tgħallimt Insuq Worth Seeing?
Not only is Kif Tgħallimt Insuq worth seeing, it’s a must-see for anyone with an interest in theatre that tackles difficult social themes. I found precious little to criticize here. The ensemble of actors is superbly skilled. Both main and supporting parts are superbly tackled, with Hyzler’s textured and well-paced direction cementing this exceptional theatre production. The location is very well-suited to the script and, barring a couple of very minor technicalities this is a compelling production that deserves our attention. If you don’t walk out of there on an overdrive of emotions, ma nafx jien…
The production is working with Victim Support Unit to ensure sensitive handling of the themes. The organisation provides support to anyone facing such issues.
Affiliate/Advertising Disclaimer: How I Carry Out Reviews
I received no payment for this Kif Tgħallimt Insuq review and I was offered press entry to dress rehearsal. The opinions expressed here are purely my own and the producers had no input/control over what I wrote. There are no affiliate links contained within this page.To learn more about my policies and my reviewing process, visit my Affiliate/Advertising disclosure page.