His architect parents were nonconformists; and thank goodness for that because they made Arun Welandawe-Prematilleke’s growing up years happy, accepting and fun. This is despite him struggling with a draconian and abusive academic milieu, and confusion about his sexuality that forced him to sand those queer edges in a bid to fight depression.

He was born in Helsinki where his mother Hirante was reading for her master’s degree. His father Madhura stayed at home to look after the children and turned conventional gender roles upside down. 

Doing what made one happy was ingrained in the family. Taking a cue from his parents, who were his most ardent supporters, Arun let his emotions flow into theatre and literally acted on the phrase ‘let’s put on a play.’

Starting to write in his teenage years, he honed his knowledge of cinema and theatre to begin directing at 16, and eventually gained a Bachelor’s Degree in Drama and Theatre Arts from Goldsmiths, University of London.

Very much an open book, Arun’s talent lies in writing and directing plays that deal with thorny, messy and ‘swept under the carpet’ issues. He makes people gasp!

From intersections of gender to sexuality, queerness and class, he continues pushing the envelope. Arun was rewarded with the 2018 Gratiaen Prize for The One Who Loves You So. Paraya, Only Soldiers and Blowhards were also works that brought on as many brickbats as they did bouquets.

His acting is intense but there’s also some wit thrown in as was seen in A Play in a Day put on by Mind Adventures Theatre Company at the British Council when he was their ‘artist in residence.’ The Chicago International Arthouse Film Fest bestowed on him a Best Actor Award for The Joyous Farmer directed by Hiran Balasuriya.

Whether theatres open soon or not is yet to be seen; but there’s a first draft of a film and a new play in the works, plus a chapter to sharpen his skills and see what else is out there.

It’s always thrilling when something you made up in your head can lodge itself in someone else’s

ABOUT

ARUN

BIRTHDAY
May baby

FAMILY
Mother (Hirante)
Father (Madhura)
Stepmother (Jenny)
Sisters (Manehkah, Oshani and Subha)
Doggies (Bevis and Otis)

ALMA MATERS
D. S. Senanayake College
S. Thomas’ Preparatory School
Asian International School (AIS)
Goldsmiths (University of London)

ALWAYS WANTED TO BE
A little less scared

HOBBIES
Cooking
Fantasising about throwing clay and becoming very good at it after watching The Great Pottery Throw Down

LOVES
Movies about women who lie to themselves
Fried chicken
Friends and family

PET PEEVES
Tardiness
Smugness
Snarky people

ADMIRES
Anyone who really puts themselves out there

Q: What has given you the most excitement since you entered the theatre scene?
A: The rehearsal room in the company of actors and practitioners, and colla­borating with talented people who see things that you don’t. Once there was also a word for word recreation of the first scene of my last play, which put a big dumb smile on my face.

Q: Does winning the Gratiaen Prize mean much to you?
A: It’s like being a prize pig at the fair. It’s an honour but it doesn’t make work any easier… and it doesn’t scrub the toilet.

Q: Given your unorthodox themes, what’s the best feedback you’ve received?
A: When people tell me what my work meant to them – sometimes years after they’ve seen it. It’s always thrilling when something you made up in your head can lodge itself in someone else’s.

Q: What’s the worst feedback?
A: People are very free with criticism.

Q: How has your multi-country upbringing – Finland, Sri Lanka and the UK – influenced your work?
A: It has given me an outsider’s pers­pective, which is really invaluable for a writer, director and actor. When you’re always skirting the periphery, you pay attention to what’s going on, and how people move and speak; and then you steal it all and put it in your work.

Q: Tell us about your best work so far and the most challenging among them…
A: I always like the last one best so it’s The One Who Loves You So. The most challenging was Close to the Bone. That was the only time I had corporate funding for a play and the entity in question was simply awful to deal with.

Q: What are you most particular about when it comes to your productions?
A: Everything! I can be quite pedantic and usually have a very specific vision.

Q: With both parents being architects, did you ever want to be one?
A: No. I remember telling them that I would have become one if it weren’t for the plumbing. The aesthetics of architecture are intriguing but the nuts and bolts aren’t.

Q: So if you didn’t venture into theatre, what would your chosen career have been?
A: I’d have worked in food. I used to work in restaurants when I was a jobbing actor and I still love to cook.

Q: You identify as gay in a homophobic society – how has that panned out?
A: I have the privilege of class and being a cisgendered male, and that allows me to move through the world with a certain shield. But it doesn’t blind me to the diffi­culties of being queer in this country.
If anything, it makes me acutely aware of the disparity in experience and power, and the very real dangers.

Q: How did your family react to your coming out?
A: With total love and openness.

Q: What three key traits do you look for in a life partner?
A: Someone who’s passionate about his work and really believes in it, and intelligent with an area of interest that’s different to mine.

Q: Name an actor you would love to work with…
A: I would like to work with Laurie Metcalf. I’ve gotten to know Fiona Shaw and would love to write for her.

Q: How do you see the world in five years’ time?
A: Hopefully, we can move the needle on creating a fairer and less consumer based culture. Other than that, I don’t really know.

QUICK-FIRE ROUND

I can be quite pedantic and usually have a very specific vision

ARUN’S

FAVOURITES