When Shakespeare spoke in a Sri Lankan voice
View(s):Gateway College Colombo’s recent staging of Much Ado About Nothing – a production that boldly reimagined Shakespeare through a Sri Lankan cultural lens was set in an early 20th-century Kandyan milieu. Presented by the Secondary School Drama Club at the Kamatha theatre at the BMICH last month, the interpretation transformed a well-known Shakespearean comedy into an experience that felt both timeless and strikingly familiar.
Developed under the artistic guidance of veteran director Jerome De Silva, and directed by the teachers in charge of the Drama Club, the production was praised for its clarity of vision.
Observed thespian Joshua Perera, “Shakespeare’s Much Ado About Nothing feels surprisingly close to home, even today,” noting that the play’s themes of reputation, honour, and public accusation “feel especially relevant in a Sri Lankan context, where family name, social image, and public perception often carry immense weight.”
Perera commended the localisation, stating that “the adaptation was approached with clarity and confidence, allowing the story to feel culturally grounded while still staying true to Shakespeare.”
Kavitha Gunasekara, also a theatre practitioner said she was delighted to witness an exceptionally well-put-together performance. “There was such palpable joy in their work, and it was especially lovely to see Much Ado About Nothing reimagined within a
Sri Lankan context.”
One aspect of the production was its seamless integration of
Sri Lankan performance traditions – Yak Bera and Thammattam drumming, Kandyan-inspired choreography, all woven into the narrative. According to Rajini Aloka, Artistic Director of Off Center Theatre these gave the play a fresh twist by setting it in ancient Sri Lanka. “The setting, music, and overall concept were executed brilliantly.”
Lakshika Rajapaksha, Founder of Tikiri and Co, noted, “The live Yak Bera and Thammattam drumming was a brilliant touch, giving simple but effective cues for scene changes.” She added that the dances and costumes “added colour and energy to the performance, making the play more relatable to us here in Sri Lanka.”
Gateway’s localised adaptation: Scenes from the play (above and left below)
Several reviewers singled out the production’s visual and spatial design, Joshua Perera adding that the masked ball scene as a standout moment.
The performances themselves drew particular praise. Reviewers highlighted the confidence, clarity, and emotional intelligence of the cast, especially in navigating Shakespeare’s language.
Ricardo Dekker, a professional photographer, who has spent decades abroad, felt that “each young actor and actress demonstrated remarkable skill and conviction, their confidence on stage shining through with effortless ease.” He further praised the cultural fusion, calling it “a unique and inspired blend, testament to thoughtful direction and imaginative vision.”
The joy of the performers themselves became one of the production’s defining features. “More than anything else, what stood out was how much the students clearly enjoyed themselves, and that joy translated powerfully on stage, ” Kavitha said.
That was echoed by composer and music director Dilip Seneviratne, who summed up the audience experience succinctly, saying, “From start to finish, it was a joy to watch. Gateway College, take a bow.”
Searching for that next furry family member but couldn’t find one in your area? Hitad.lk has the solution with our extensive listings of dogs for sale in Sri Lanka!