In the latest episode of The Fame Game, hosted by Kumar de Silva and Rozanne Diasz, audiences were treated to an inspiring and deeply personal conversation with acclaimed theatre director, actor, composer, and playwright Jehan Aloysius. Filmed at the elegant La Maison de Colombo on Stratford Avenue, Colombo 5, the discussion explored his upcoming full-length adaptation of A Christmas Carol, his extensive theatre journey, the challenges of the industry, and the meaningful ways theatre has shaped his life.
Q: Jehan, welcome to The Fame Game. You are currently busy with your latest project an adaptation of A Christmas Carol. Could you tell us more about it?
A: Thank you. Yes, I am deeply involved in this project and I am very excited. This musical has been in the making for almost three years. I have worked on the script adaptation, composed the music, and assembled a cast that I am extremely proud of. We had a preview last year, which you attended, and now Colombo audiences will finally see the full world premiere of Charles Dickens’ A Christmas Carol. It has been a long journey but a fulfilling one.
Q: How different is your version from Charles Dickens’ original work?
A: When adapting a classic, it is essential to truly immerse yourself in the original text, understand the period, and research the social issues Dickens was addressing. He wrote the novella to be accessible to families, especially children, and aimed to transform Christmas into a season of generosity. In my adaptation, I expand on certain themes that Dickens only touched on lightly. For instance, the transformation in the original focuses mainly on Scrooge. In my version, I felt it was important that the community also changes. One person’s change can help a few people, but a community transformation can uplift many more. I have also brought the element of disability to the fore, particularly Tiny Tim’s story, because of my longstanding work with the disabled community in Sri Lanka. Furthermore, the musical features some of my strongest compositions, including a song called A Father’s Heart, which many connected with deeply during last year’s preview.
Q: Your cast seems to have changed since the preview. What can you tell us about the performers involved this time?
A: The preview cast was excellent, and they were committed to that shorter performance. The full production, however, is nearly two hours long and required a new lineup. We have a truly exceptional cast. Many actors play dual roles and each cast member brings something unique to the stage. Rehearsals have been thrilling.
Q: Have you ever had to improvise during a live show because of unexpected mishaps?
A: All the time. Mistakes and technical problems occur in every major production. What matters is how you handle them. I always tell my actors that the audience often reacts more to your reaction than to the actual mistake. So do not show it. These issues happen even on famous international stages. I have seen international shows where unexpected improvisations occurred because something went wrong backstage. But in local theatre we do our best to ensure every possible mishap occurs during rehearsals so that the actors are fully prepared. That is an important life lesson too: learn to work around obstacles.
Q: You have had your own share of challenges performing live. Could you share a memorable example?
A: There have been many. During Phantom my knee dislocated mid show. I performed the rest of the play with my knee dangling and then ended up on crutches for months. Before Nutcracker I was rushed to the emergency room because doctors suspected a cardiac episode but I still made it to the show once the reports were clear. Things like these happen when you are passionate about theatre.
Q: You are also known for your Sinhala theatre performance in Trojan Kanthawo. Could you share a line from that?
A: Yes. That is one of my earliest major Sinhala language roles and I played it from 1999. It is a classical piece and performing it alongside theatre greats was an honour. It is nostalgic for me because I was much younger then and now I am closer to the age of the character.
Q: Of all the characters you have played in English theatre which is closest to your heart?
A: Jean Valjean from Les Misérables. That role changed my life. Phantom was a dream role, full of drama and emotion, but Valjean fundamentally shifted how I view society and humanity. I once encountered a man squatting outside one of my properties who looked strikingly like Valjean. Though he had broken in, he had not caused harm or stolen anything significant. Something in me told him to take his things and leave. Later many people pointed out how much that resembled Valjean’s story. Perhaps the role remained with me more deeply than I realized.
Q: Many of your works explore human nature, empathy, and social issues. Why is that important to you?
A: Theatre has the power to change people. My plays whether it is A Christmas Carol, Drag, or Crossing the Line carry messages about love, forgiveness, war, disability, and transformation. Even if the story appears fantastical the themes are grounded in real human emotion and struggle. If a story can touch even one person then it is worth performing.
Q: What are some of the challenges you face in producing large scale theatre productions today?
A: Funding is always the biggest challenge. Most of the time I personally fill the financial gaps. When I left advertising in 2005 to pursue theatre full time, I had no savings and hardly knew where my next meal would come from. But I believed in the work. Theatre is not a business for us. English theatre in Sri Lanka is amateur and not financially lucrative. Even Sinhala theatre often pays barely enough to cover basic costs. We do it for passion. Many of the professionals involved deserve far more compensation than the industry can offer. Productions pay for themselves only over many years through multiple runs. That is why we bring our shows back and why they have returned repeatedly and even toured internationally. Original work gives us longevity.
Q: How do you keep ticket prices accessible when production costs are so high?
A: I believe theatre must remain accessible. Even when pricing suggestions come in I insist on keeping ticket rates reasonable because I want people to come and experience the show. To sustain theatre the audience must be part of the journey.
Q: The Lionel Wendt Theatre seems to hold a special place in your heart. Could you tell us about that bond?
A: It is my Mahagedara, my artistic home. I stepped onto that stage when I was five years old performing with my father who had a magnificent baritone voice. He sang Old Man River and my brother and I were little boys on stage. I grew up with the theatre and owe a part of who I am to that space. That emotional bond remains very strong.
Q: You originally wanted to be a filmmaker rather than a theatre director. How did that shift happen?
A: Yes, my first dream was filmmaking. My mother studied journalism and film in the United States so our home was filled with books about cinema. I began drawing storyboards and writing scripts at a very young age. She also encouraged me to apprentice under directors. Over time I realized the theatre gave me the creative possibilities I wanted but in a more immediate and expressive form. So I shifted from “Chitrapati Adhyakshaka” to theatre director and actor quite by accident.
Q: Of all the roles you play in a production director actor composer writer or choreographer which one feels most natural to you?
A: Directing. I love acting but directing is my true calling. Many of the other roles costume design lighting design marketing choreography I took on out of necessity because I did not have the budget to pay others. But knowing all these areas strengthens my ability as a director. I am not alone in this; creators like Julie Taymor and Lin Manuel Miranda have taken on multiple roles as well.
Q: When can audiences watch A Christmas Carol?
A: The show runs from 22nd to 23rd November and again from 27th to 30th November at the Lionel Wendt Theatre. Tickets will be available online through the theatre’s developing platform as well as at the theatre itself. We have already opened for bulk bookings unofficially, but the official box plan will open mid-October.
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From his early start on stage at age five to directing groundbreaking productions and nurturing new talent, Jehan Aloysius has dedicated his life to theatre with relentless passion. His upcoming adaptation of A Christmas Carol is not only a revival of a timeless classic but also a reflection of his lifelong commitment to storytelling, community building, and social impact. His journey reminds us that theatre may face challenges but its spirit when fueled by passion and purpose remains indestructible.
