The Lionel Wendt Theatre will spotlight Confucius on June 21 at 6.30 pm, the latest stage production by thespian Prof. Sunanda Mahendra. Known for his intellectually rigorous and stylistically bold work, Mahendra returns with another signature piece of deconstructed theatre—this time turning his lens to the life and legacy of the legendary Chinese philosopher.
Prof. Sunanda Mahendra
Confucius isn’t a historical pageant. It’s a theatrical excavation. Through fragmented narrative, reflective dialogue and symbolic staging, Mahendra dissects the moral teachings and human struggles of the ancient sage, reinterpreting them for a modern audience grappling with ethical dissonance and social change.
This production follows Mahendra’s long-standing practice of dramatising influential historical and philosophical figures. His previous works have featured Socrates, Aesop, Nelson Mandela, Anton Chekhov, Cumaratunga Munidasa and Anagarika Dharmapala—each treated not as statues in history, but as voices alive in the present.
The muhūrath ceremony—marking the ceremonial start of rehearsals—was held recently at the Sudarshi Sinhala Cultural Institute in Colombo, bringing together cast and crew to bless the production. Rehearsals have since been under way at Sudarshi, building momentum towards opening night.
The title role of Confucius is portrayed by seasoned actor Kingsley Loos, whose presence anchors the play. Daya Sri Narendra Rajapaksa steps into the role of Mencius, the philosopher-statesman who carried forward Confucian teachings. Nihari Somasiri appears as Confucius’ mother, a role that lends emotional resonance to the character’s philosophical journey.
The ensemble cast also includes Anura Dahanayake, Jayani Sarachchandra, Sarath Chandraratne, Janith Wipulaguna, Kithsiri Hewagamage, Nayani Rajapaksa and Priyantha Samaratunga—each taking on multiple roles that move between past and present, symbol and story.
The production is helmed by Dr. Bandula Gunawardana as producer, with a rich original score by Navaratna Gamage that infuses the play with mood and texture. Makeup and lyrical contributions come from Buddhadasa Galappatti, while Samanpriya Marasinghe manages production and Priyankara de Silva coordinates the complex logistics of staging.
For Mahendra, theatre is not entertainment—it’s inquiry. With Confucius, he poses hard questions about wisdom, governance, and the role of the thinker in society. The play offers no simple answers, but invites audiences into the kind of deep reflection that has long defined Mahendra’s dramatic ethos.
Confucius promises to be more than a play—it’s a philosophical encounter.
