The concept of an immersive theatre experience set inside a nightclub is bold, to say the least. Oftentimes, productions that pride themselves on their experimentality, particularly those that are catered toward a younger millenial/Gen Z audience end up using nuanced formats to pass off something quite soulless and generic. Thankfully, Chewing Production’s Safe Haven proved to be anything but. The production, or rather, the immersive performance party, directed by Alex Weenink and written by Sarah Zammit Munro, ran for two nights at Liquid Club in San Gwann.
The writing was simple but highly effective, forming an impressive amount of emotional buildup for what was, on paper, an hour-long dialogue between the two characters: Paul (Miguel Formosa) and Abigail (Kaylie Magri). The audience was part of the setting and functioned as characters themselves, acting as Paul and Abigail’s fellow employees from Peace Lily Advisory, the company organising Safe Haven as a staff party. The actors were also accompanied by two dancers, Kayley Jo Vella and Luke Brincat; the latter also served as the show’s choreographer. Beyond the actors occasionally asking the audience for a lighter or a packet of tissues, the dancers pulled and summoned people to the dance floor during brief interludes, which were necessary to give the actors time to move between different areas of the club. The interludes were atmospheric, and intentionally disorienting, further blurring the line between performance and party.
Did I mention this happened inside a nightclub? The use of space was smart and deliberate throughout, with even the bathroom being used as a ‘stage’ by Formosa’s character. When combined with the character’s monologues delivered face to face with the audience, the result was a surprisingly intimate atmosphere. The monologues slowly reveal that Paul and Abigail are far more similar than they initially realise. Despite their outward professionalism and apparent success, both clearly feel alienated and trapped in their jobs, working for a corporation whose values they are fundamentally against. Through the characters’ recollections of childhood memories and the pictures of Maltese nature juxtaposed with urbanisation and construction sites projected onto the back wall of the club, the piece does a phenomenal job at connecting the characters’ personal stories to the much broader, underlying cultural issue.
There is a strong sense of tragedy. Neither character really knows how, or if it is even possible to reclaim their autonomy in the face of such systematic adversity. Eventually, the two characters seem to realise their struggle is shared, however, whether that realisation leads anywhere is left deliberately unresolved. After all, to borrow and rephrase a couple of my favourite lines of the night, even if they were to riot and burn down their workplace, another one would simply be built in its place. The ending, and the performance as a whole, had a real, penetrating, almost dystopian darkness to it, which led to an afterparty at Liquid itself, hosted by DJ Chouhal. Chouhal also provided music during the performance, collaborating with Aleandro Spiteri Monsigneur, who composed the more sentimental moments of the soundscape. The shifts in tone—from nightlife euphoria to the dread of realisation—were very much guided by these musical interventions, underscoring the production’s emotional complexity.
Chewing Productions is a relatively young and modestly sized company, now in its fifth year of operation, and still largely driven by a team of emerging creatives. That they managed to produce something as cohesive, emotionally resonant, and technically ambitious as Safe Haven is very encouraging. It’s a reminder that even when the situation for artists can feel uncertain, especially in the face of AI, the best of art will always be made by human minds. If Safe Haven is any indication of where Chewing Productions is headed, or of the trajectory of Maltese theatre more broadly, then the future looks to be in very capable hands.
Please click here to view the Safe Haven digital prduction programme.
Editor’s note: Aleandro Spiteri Monsigneur composed and designed all of the music in the performance, while Chouhal played the pre-party and afterparty and was part of setting the tone and atmosphere for the show.
