Back with a bang

Dreambox’s choice of staging their post-pandemic comeback with its most successful work “Onlaman Lang Ban Saithong” might initially sound like a safe bet; it’s a winning one. 

Walking in Manoonphon Building where M Theatre is last month, I realized it’s the first time in almost four years I visited this small complex with a proscenium theatre, two theatre studios namely Creative Industries and Blue Box Studio which remain dark, two cafes and a restaurant. It’s almost like it used to be but, like many other places now in the New Normal, it’s not. I suddenly recalled some weekends when there were concurrent performances in all three spaces plus dance classes and parking spaces were full. That’s how it was and we wonder if or when it would come back.

At the entrance to M Theatre, I came across, and bought, a special souvenir, a dark grey t-shirt with, in the front, the famous saying “the show must go on” and, in the back, the list of dates and venues when and where this play has been staged starting from June 1999 at Bangkok Playhouse, now known as M Theatre, including those in Chiang Mai and Khon Kaen. Not only did it remind me how old I am and how long I have been enjoying Dreambox’s quality commercial theatre productions—since my college years when they’re known as DASS Entertainment, but it’s also a proof that Dreambox’s shows must go on and theatregoers know why. 

Like the way Thai cooks have been adapting different cuisines and ingredients from overseas and adjusting them for Thai palette, Daraka Wongsiri adapted English playwright Michael Frayn’s famous play “Noises Off” (1982) and put in characters from national artist Kanha Khiangsiri’s novel “Ban Saithong” (1950) that all Thai people know by heart thanks to several screen adaptations of it. The result’s delectable and a reason why we still love going to the theatre.

With only two actors returning from the original cast, namely Atcharapan Paibulsuwan who’s captivating as always and Kor Kamonpatana whose physical comedy prowess was second to none, director Suwandee Jakravoravudh managed to deftly blend the new cast members in to form a strong acting ensemble. Working with either seasoned actor like Maethanee “Nino” Buranasiri who exceled as the director who seemed to care more about the young student intern backstage crew than his actors or a newcomer like Kanteera “Noey BNK 48” Wadcharathadsanakul, the Silpathorn Award laureate made sure that no one’s upstaged at any moment. 

A delightful surprise was Sarawit “Kong” Subun whose credible portrayal as the stage manager here showed that he could keep the entire show on his shoulders. Much kudos was also due for Phatnacha “Puifai” Wiphatdettrakun whose Photchaman Sawangwong was unlike any we’ve seen and this performance should cement her status as a professional stage thespian. 

The pace was slightly off that of the normal farcical one but maybe it’s the opening night and that problem should have been solved by the end of the play’s two-weekend run. Another setback had nothing to do with the cast or crew. Despite the loud and clear pre-show announcement, many audience members who didn’t seem to be members of the media were using their mobile phones to capture both still and video images during the performance while another one was reading and responding to his Line messages. It seems like some of us remain in the lockdown mode and cannot turn off their phones for two hours in the theatre.

To keep track of the company, visit www.dreambox.co.th or www.facebook.com/DreamboxTheatreBKK.

Photo credit: Dreambox