Upali Weerasinghe (standing)  with Prof. Ediriweera Sarachchandra   

Light is indispensable in every aspect of our lives,; especially in the theatre where it plays a crucial role. Even under natural sunlight, additional lighting effects are required on stage to enhance the performance. Lighting in theatre is not just about illumination; it involves creativity to complement and enhance the artistic expression. This necessitates the expertise of skilled light designers and creative light operators. Among them, Upali Weerasinghe stands out as one of the most senior and talented creative light designers in Sri Lanka. He is set to launch his book ‘Anduru Karaliye Sonduru Diwakara’ which encapsulates his extensive experiences in the field. The book launch, along with a felicitation ceremony for him will take place on June 28 at the Elphinstone Theatre starting at 6.30 pm. 

He has a long history as a ‘light’ designer. His father’s younger brother, Heras Alwis Weerasinghe, was a dancing teacher. He studied dance under his uncle’s guidance. He recalls, “I loved dancing. Realising my passion for dancing, my uncle enrolled me at the University of Visual and Performing Arts, which was called the Government Fine Arts Institute back in the day.” Upali completed the course successfully and also passed the ‘Gandharva’ final exam. 

Eventually Upali received a teaching appointment, which he didn’t accept. The appointment meant he had to go to Ampara. At the same time, his dream was to meet W.D. Amaradeva and Prof. Ediriweera Sarachchandra. He knew that if he had accepted the teaching appointment, he would have missed realising his dream. He informed his parents of his decision, and they allowed him to pursue whatever he wished. 

At the same time, he was acting in Basil Mihiripanna’s ballet “Omarilatha.” It was there that he met Mahinda Dias through a mutual friend. Mahinda, often considered the father of Sri Lankan theatre light design, invited him to study theatre lighting under his mentorship. He eagerly accepted the offer, knowing it was the best way to make his dream come true. According to Mahinda’s notice, he went to Lumbini Theatre on March 3, 1966. On that day, D.G.L Perera’s stage drama “Thotupola” was scheduled to be staged at Lumbini Theatre. The stage light designer was Mahinda. It was his first day at work in the field. 

At the end of that month, Prof. Sarachandra’s “Maname” was staged at the Colombo University theatre. On that day, while they were setting the lights with Mahinda, Prof. Sarachandra arrived with his crew. He then approached the stage and engaged in a conversation with Mahinda. At that moment, Upali approached and paid his respects to Prof. Sarachandra. Curious, Prof. Sarachandra asked Mahinda about him, to which Mahinda replied that Upali was an apprentice practising lighting. Impressed, Prof. Sarachandra said, “Can you send this child every day for my work” This is how he got the opportunity to work in Prof. Sarachandra’s plays for a long time. 

In April 1966, he had the opportunity to meet W.D. Amaradewa at C.M.S Ladies’ College for the first time during a musical show. Here Mahinda handled the lights. In addition to local productions, he had the opportunity to work with foreign productions; visiting Sri Lanka, particularly due to his proficiency in English. Our protagonist, Upali, garnered extensive experience in the field through collaborations with numerous veteran artists such as Nanda Malani, Gunadasa Kapuge, H.R. Jothipala, Prof. Sanath Nandasiri, Chitrasena, Dr. Mudiyanse Dissanayake, Ravibandu Vidyapathi, Merenda Hemalatha, Sandya Bamunuvita, Henry Jayasena, Dayananda Gunawardena, Sugathapala De Silva, Viijay Nandasiri, Sriyantha Mendis,. Janak Premaral, R.R. Samarakoon and Dhamma Jagoda. Among them was Victor Rathnayake, another esteemed singer with whom he collaborated. 

During his time at the Government Fine Arts Institute, while practising dancing on the ground floor, they were captivated by the enchanting violin music emanating from the first floor. This music was being played by none other than Victor. At the time, he was a first-year student while Victor was in his third year in education. He got acquainted with Victor through another talented musician, Sena Jayantha Weerasekara. Over time, Victor and Upali developed a closer friendship; particularly due to Victor’s “Sa” musical show, for which Upali handled the light designing aspect. 

Subsequently, he informed Victor of the situation. Victor advised Upali that if the lighting equipment was not provided by Dias, alternative arrangements should be made, such as sourcing equipment from elsewhere or utilizing torches and candles. Upali was emboldened by this motivational advice from Victor. 

At the time, aside from Mahinda, the only company capable of supplying lighting facilities for shows was “Ariel sounds,” owned by Upali Rupasiri. 

Consequently, Upali opted to hire lighting equipment from him and successfully conducted the show at St. Anthony’s College. This marked the beginning of his independent endeavours in the field. 

In addition to his interactions with artistes, he has had wonderful and professional experiences with his family. He has a lovely family, and his wife, the late Leena Abeysinghe, supported him in becoming a successful professional in the field. His only daughter, Pavithra Weerasinghe, alongside her father and mother, elevated the original Creative Lights, initiated by Upali, to Creative Lights Entertainment Private Limited. A new member, Hasitha Kuruppu, has also joined the family and plays a major role in this endeavour. 

Our legendary light designer, Upali, proudly commemorates his six-decade journey in life. We, as theatre lovers, are fortunate to have such a professional personality on stage. 

Lastly, as a stage drama actor, I have had the privilege of being stage-lit by Upali many times during my 30-year career. Now, as a new theatre director, I have the honour of working with his beloved daughter,  Pavithra

Time flies. 
“Upali Aiya! Chiran Jayathu.” 
(The writer is a theatre actor and director)