EMD Upali, a familiar name in both the Colombo Bar and the Sinhala stage, is gearing up to unveil his latest theatrical venture, Pavul Kana Minihek, the Sinhala adaptation of Iris Murdoch’s acclaimed novel The Black Prince. The play goes on board on December 6 at 7 pm at the open-air theatre of the Sudarshi Hall, Colombo.

Though not physically tall, he stands tall in fame. Upali’s open, friendly nature and ever-present smile make him a respected figure in both legal and theatrical circles. The veteran director is also remembered for introducing the late Jackson Anthony to the stage through his 1983 hit Methanin Maruwenu, a production that went on to win national acclaim.

But his journey began much earlier. As an undergraduate at the University of Colombo, he created Methanin Maruwenu for an inter-faculty drama competition in 1981 and walked away with the Best Director award. The reworked version won him another Best Director title at the 1983 State Drama Festival. Two years later, he repeated the feat with Piyambana Assaya.

Academic commitments kept him away from the stage until 1995, when he returned with Eva Balawa, a Sinhala adaptation of J.B. Priestley’s An Inspector Calls.

“Lucien de Zoysa first staged the English version at the Lionel Wendt in memory of his son Richard,” Upali recalls. “I adapted it into Sinhala using the script by my guru and friend, Upali Attanayake. Eva Balawa went on to win four State Awards, including Best Director (Adaptation).”

He followed this success with Chara Purusha (2000), adapted from Gogol’s The Government Inspector; Wana Tharavi, his staging of Ibsen’s The Wild Duck during the Ibsen Centenary celebrations; and Chekhov’s The Cherry Orchard as Idamedi Wikine in 2014.

Pavul Kana Minihek is Murdoch’s philosophical and psychologically charged masterwork, adapted from Prof. J.A.P. Jayasinghe’s Sinhala translation. Produced by Jude Srimal, the play features Sampath Perera as Bradley Pearson alongside theatre stalwarts Lakshman Mendis, Nilmini Sigera, Madani Malwage, Jayanath Bandara, Mihiri Priyangani and Chanu Disanayake. Music is by Theja Buddika Rodrigo.

Behind the curtain sits an equally seasoned crew: production designer Pradeep Chandrasiri, costume designer Ama Wijesekara, lighting designer Ranga Kariyawasam, make-up artist Sumedha Hewavitharana and stage manager Lakmal Ranaraja.

Murdoch’s philosophical depth, Upali notes, is central to both the novel and the play.

“Murdoch’s background in philosophy flows through the narrative,” he says. “The Black Prince grapples with the pursuit of truth, through erotic love, through art, through suffering. She was a Platonist, and that worldview shapes the protagonist Bradley Pearson’s journey.”

Murdoch’s novel, published in 1973, won the James Tait Black Memorial Prize and was shortlisted for the Booker Prize before being adapted for the stage in 1989.

“We condensed the play into a sharp, two-hour production,” Upali says. “With Pradeep Chandrasiri’s design, we recreated both Bradley’s and Arnold Baffin’s homes on stage. Our approach was minimalistic, but every decision was grounded in careful experimentation.”

Upali is candid about the realities surrounding Sinhala theatre especially when adapting world-class works.

“The biggest challenge is funding,” he says. “A proper production costs at least five million rupees. Institutions like the British Council or Goethe-Institut help occasionally, but not enough.”

He points to recent successes such as Nuga Gahak, Kanchuka Dharmasena’s Sinhala adaptation of Tim Crouch’s The Oak Tree, staged with the help of the British Council, and Rajitha Dissanayake’s Ape Gedarata Gini Thiyaida, supported by the Sunera Foundation.

“We must be happy some people get sponsorships. It’s rare. But if we create good theatre, audiences still come.”

The director laments Sri Lanka’s lack of proper theatrical infrastructure.

“In Sri Lanka, theatre is treated as a ahikuntika kalawa, a gypsy art,” he says. “Actors and crew load a bus with props, travel, perform once and return. In developed countries, theatres run the same play for months, sometimes years.”

Venues remain limited and expensive. Lionel Wendt is booked out months ahead; most other halls lack even basic acoustics.

“Many places are just meeting halls. Audiences beyond the middle rows can’t hear the actors. These shortcomings drain the cultural life of the nation.”

With auditorium rentals running between Rs. 75,000 and Rs. 100,000 a day, directors often wait months for dates.

“A play must be staged at least once a month to stay alive,” he remarks. “Theatre isn’t something you can store on a chip.”

Sri Lanka also lacks full-time theatre companies. “Our actors must juggle movies, teledramas, TV ads, political stages, news anchoring — everything,” Upali notes. “They have to. There’s no other income.”

Hiring them for a single performance can cost Rs. 300,000. Full production ranges from Rs. 2 million to Rs. 5 million.

“When we began, even films didn’t cost this much.”

Meanwhile, audiences are shrinking. “We are living in a TikTok world,” he says with a wry smile. “People want instant gratification. Sitting through a two-hour play is becoming harder and harder.”

Yet despite the odds, Upali remains committed to the stage and to bringing global literature to Sinhala audiences.

“I believe in theatre,” he says simply. “And I believe our audiences still care, even in a distracted world.”

Pavul Kana Minihek

opens this week and promises to remind us of that serious theatre still has a place, and a voice, in Sri Lanka.

(Pix by Hemantha Chandrasiri)

The celebration of the National Day of the Sultanate of Oman unfolded with distinguished elegance, as diplomats, dignitaries and invited guests gathered to honour the rich heritage and modern achievements of the Sultanate of Oman, under the leadership of Sultan Hatham bin Tarik.

The Ambassador of Oman in Sri Lanka Ahamed Ali Said Al Rashdi delivered a gracious and heart-felt address reflecting on the deep-rooted ties between Sri Lanka and the Sultanate of Oman.

He spoke of the region’s shared maritime history, centuries of cultural exchanges and the growing partnerships that continue to strengthen bilateral friendships between Sri Lanka and with the Sultanate of Oman.

The Ambassador also highlighted Oman’s progress under the visionary leadership of the Sultanate, celebrating the nation’s advances in economic and regional co-operation, values that align closely with Sri Lanka’s aspirations.

One of the evening’s best highlights was the culinary journey, specially curated to offer guests an authentic taste of Omani hospitality.

The buffet unfolded a tapestry of flavours, fragrant Omani biryani, slow cooked meats, grilled seafood and an array of vibrant desserts like delicacies especially Omani dates, offering a sweet finale while the aroma of Omani coffee lingered like a gentle cultural embrace.

It was an evening that did far more than celebrate a National Day. It unfolded as a journey into the soul of Oman, wrapped in sophistication and unforgettable charm.

The glamour of the evening was heightened by the graceful flow of distinguished guests in elegant allure, warm diplomatic exchanges and the subtle rhythm of traditional Omani melody.

Rainco’s touch of couture

It was a dazzling evening that merged fashion, function and fine design, as Rainco Sri Lanka’s homegrown brand synonymous with quality and craftsmanship – unveiled its new umbrella collection ‘Be my Rainco’ at Cinnamon Life setting a new standard for stylish innovation.

Chic,sleek,and storm ready

This event graced by a distinguished guest list of fashion connoisseurs, influencers and design enthusiasts was more than a product launch. It was a celebration of form and artistry. The highlight of the evening was a fashion showcase curated by acclaimed designer Brian Kerkovan who brought his international flair to Rainco’s refined aesthetic. Models glided down the runaway carrying striking umbrellas, their balanced elegance and engineering transforming a daily essential into statement of luxury.

Bathed in soft lighting and accompanied by an evocative musical score, the ambience exuded sophistication. The collection crafted with meticulous attention in detail, featured bold silhouettes, luxe finished and innovative textures, echoing the brand’s philosophy of merging practicality with panache.

Speaking at the launch, Rainco’s General Manager marketing and innovation, Awarna Ventures (Ltd)Gayani Gunawardena said with pride his milestone collaboration, noting how the brand’s evolution from a household essential to a symbol of contemporary lifestyle.

The evening concluded with a toast to creativity – a fitting finale for a brand that continues to inspire confidence and styles ,rain or sunshine.

(ZC)