A fabulous farcical feast

 With new theatre Society’s new play “Monrak Khlong Saensaeb” combining an adaptation of the 19th-century German farce “How to Die for Love” by August von Kotzebue with Mai Mueang Doem’s popular Thai novels “Phlae Kao” and “Saensaeb”, theatre goers cannot help but be reminded of an earlier offering by the same company.

Four years ago, Damkerng Thitapiyasak adapted Noel Coward’s comedic gem “Blithe Spirit” and Thai horror tale “Mae Nak Phra Khanong” for the successful “Nang Nak The Museum”.

“Monrak Khlong Saensaeb” is another comedic machine gun that uses farce to shoot the audience mercilessly with gag after gag. Reactions differ from polite grins to roof shattering laughs, proving that the company, this time led by playwright and director Parnrut Kritchanchai, has struck the right chord with the contemporary Thai audience. 

Parnrut and Damkerng are working at full force to drive the company forward, with “Monrak Khlong Saensaeb” coming just two months after Damkerng’s adaptation of Hesse’s “Siddhartha”.

Parnrat sets the love triangle tale of Buatum, Chaiya and Bunchoi in the familiar Thung Bang Kapi, after the times of the famous couple Kwan and Riam. 

With the placing of stereotypical characters in a familiar setting, the play is a reminder of why we love watching this kind of melodrama again and again, despite knowing the stories all too well. It’s the plot twists – the anything-can-happen-without-a-reason farce style – that ensure the entertainment value remains high through the entire 105 minutes. 

The star of the show is Pariya Wongrabeab, a familiar face now on TV, whose portrayal of Buatum is the comedic gem of the year. She excels in the exaggeration of the female lead character’s innocent facial expression as well as her physical movements, perfectly fitting the style of the play. As her almost doomed lover Chaiya, Grisana Punpeng just about matches Pariya’s prowess, and the combination of these two veterans somewhat overshadows another seasoned actor Nophand Boonyai whose villainous Bun Choi is a little too realistic for the farcical world. The other cast members try hard but Pariya has already set the bar too high. 

And just like other farces, the play’s messages are crystal clear ensuring that the audience leaves the theatre happy. With political tension again running high, a good evening out makes for a welcome escape. 

Parnrut’s next work is the sequel to “Chao Kuay Thuay Sudthai”, a crowd-pleasing comedic romp staged back in 2011. But with last year’s farce “Chao Rok” added to the mix, perhaps it’s time that the playwright and director switched to other dramatic genres. Otherwise, the independent Thai theatre scene might become as predictable as that of commercial European theatre in the late 18th and early 19th centuries, thanks in part to Kotzebue’s success in pleasing, instead of challenging, the audience.

 

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