Some people make an instant impression on you. Some others leave you hoping you would meet them again. This young man falls into both these categories. Not only because he is one of the most spectacular finds in English theatre in recent times, but also because of everything his persona entails. The epitome of raw artistic passion, you can literally feed off his zest for life.

For those of us who got the opportunity of seeing Hiran Abeysekera in the impressive production of Equus last October, it is safe to say that his powerful performance helped etch him deep in our hearts and minds.

And now he is back to impress us again, this time not with a performance, but with a personal achievement that is both inspiring and encouraging for the future of Sri Lankan theatre. Getting accepted into the Royal Academy of Dramatic Art (RADA) in London, to read for a BA Honours in Acting, at the age of just 22, Hiran secured one of the 34 places available out of almost 2700 applicants from around the world.

“RADA was scary,” he said simply. “You basically have about three minutes to impress these great teachers! Most of the other applicants were like twice my size, way more experienced and professional-looking, and you could just ‘feel’ their talent when they walked into the room, so I was looking around and wondering how on earth I’m going to compete with all of them!” Most of the applicants, unlike first timer Hiran, he later found out, had applied to RADA many times.

Hiran, an active member of the Lanka Children’s and Youth Theatre Foundation headed by veteran actress Somalatha Subasinghe, was quite literally “found” by the British Council, Colombo, a couple of years ago when he was cast as Romeo, by British director William Scott Richards, in a trilingual theatre project funded by the Council. He went on to play the lead in Equus, making his entrance into the English theatre scene.

RADA had four, tough, auditioning rounds, each more challenging than the other. “The process started off with me performing a classical piece, a scene from Richard III and a scene from Wild Honey by Michael Frayn, an adaptation of the work of Chekhov, as my modern piece.” He had to then perform the same pieces, but improvise when asked to. “Once I got through those rounds, the next challenge was when we were each given a script where we had to enact various scenes with another actor. It was typical ghetto lingo, so it was pretty tough. Plus sometimes the one you get paired with might not have the greatest chemistry with you.”

The applicants were paired again to do a scene, an extract from Shakespeare’s Tempest “The challenge for me here was to get the girl I was playing with, to walk towards me, with my words. We were put on opposite ends of the room, and I had to play the scene and if she felt I was doing a genuine job, she would take a step towards me. It was an awesome feeling when I actually managed to do that,” he said.

“We were told over and over again, to please try not to look interesting, but to be interested. This made so much sense, since all the applicants, including myself, were trying so hard to impress the instructors in every possible way. The other important point was that the instructors didn’t really care about the original pieces you presented to them, but what they looked for is how much you can change it and improvise, under their direction.” And this was obviously where Hiran scored, with his acting skills and willingness to take the risk of thinking out-of-the-box. “Next came a sight reading session. We had just about one minute to run our eyes over it, and with English not being my first language, it was tough, but I got through it!” he said.

The final session involved all the instructors and the applicants. “Most of the others decided to play it safe and performed their rehearsed scenes, just as they had rehearsed it. But I just went in, used the entire room, and improvised with my scene. At the end of it, some of the other applicants came upto me and told me that they wouldn’t believe it if I don’t get chosen!” he said smiling.

Scott Richards

RADA is not the only institution that has had faith in this young actor. Under the guidance of Richards, who firmly believed that Hiran deserved professional training, applications were made to some of the most reputed academies in Britain, more than a year ago. “I could see his terrific talent, individuality and ability to perform with extraordinary power and presence, in both Sinhalese and English. He is also a portal to a network of other young local talent. As an actor Hiran possesses two main qualities – a subtle sense of performance and an open approach to process,” Richards said of his young find.

Backed by the British Council, he thought up a plan to send Hiran to Britain for the auditions. Apart from RADA, Hiran was accepted by the Bristol Old Vic Theatre School, London Academy of Music and Drama (LAMDA) and the Guildhall School of Music and Drama, a rare feat in itself.

Hiran’s academic year at RADA starts this September, and the Academy has taken an unprecedented step in offering him a 50% scholarship for three years. A statement from Edward Kemp, Artistic Director of RADA notes that the level of funding being offered to Hiran this year is exceptional, and is a testimony to the high regard in which he is held by the Academy. But he is still in need of lots more funding, if this wonderful opportunity is to become a reality.

“It is clear that Hiran has made as great an impression at RADA as he made here,” says Gill Westaway, Country Director of the British Council. “The award from RADA is significant, but he can take his place in the class, only if those who recognised his talent and have been thrilled by his performances here in Colombo, now come forward to help. He is truly world-class and deserves any support we can give.”
As Richards puts it, Hiran is a potential asset to this country. “His ability to cross between theatre arenas, switching between languages, in a Sri Lankan context, is an achievement itself. So anyone who has been to the theatre, seen Hiran, enjoyed and recognised his skills, should see this opportunity of assisting him as an investment in the future of Sri Lankan theatre. He is an ambassador for theatre in Sri Lanka.”

“There is so much talent there. I want to work with that talent. If the people I act with over there, had the level of English I have, I would not be the one standing here in front of you today,” Hiran had told the RADA panel when asked what he would give back to his country if he was chosen. “It’s my vague dream to have my own Academy someday. I want to be a bridge between the talent here, and the opportunity there,” he says, sincerity written all over his face.

Anyone interested in assisting Hiran could contact Azira Esufally on 0777387777 or on azira_smile@hotmail.com. It is, quite simply, an investment in the future of Sri Lankan theatre.