Musicals on the mind

WHILE MUSICAL THEATRE has been engaging audiences in the West since the end of the 19th century, the musical in its modern sense has been slow finding its way to Thailand, with the first local production staged in Bangkok less than 20 years ago.

“Wimarn Muang the Musical”, as the show was called, was brought to the Thailand Cultural Centre by Scenario Thailand’s executive producer, Takonkiet “Boy” Viravan in 1997, and was such a success that it spawned a parade of other productions that has continued until today.

Over the years, Boy has staged such sell-outs as “Ban Lang Mek” in 2001, revived and reinterpreted in 2002 and 2007, “Bangkok 2485” in 2004 and “Fah Jarod Sai” in 2007, “Khang Lang Phap” (“Behind the Painting”) in 2008, “Mae Nak Phra Khanong” in 2009, “Lom Hai Jai” in 2010 and “Thawipop” on two occasions, the most recent in 2011. He also built the Muang Thai Rachadalai Theatre at the Esplanade on Ratchadaphisek and has added a string of adaptations and foreign musicals to his production credits, among them “Miss Saigon”, “Cats” and “Phantom of the Opera”.

Boy’s success has encouraged other impresarios to turn local stories into musicals and while the number of productions fell off last year due to the political situation, the line-up this year will more than compensate. “The Lady of Siam”, an adaptation of “My Fair Lady”, is being staged at Thonglor Art Space, “Hom Rong the Musical” is slated to open next month and “Paendin Khong Rao” is coming in June.

“The musical has become more popular for several reasons, the major one being that songs and music make it easier for audiences to digest dramatic performances,” says Pradit Somdungjait, managing director of Masterpiece Organiser, which is producing “Paendin Khong Rao”.

Teerawat Anuwatudom of Workpoint Entertainment, which is staging “Hom Rong”, agrees. “Experience shows that Thais accept musicals with songs and dialogue more than sung-through performances like opera, which they find hard to understand. However, it must be said that the songs are only a part of the show; the plot is really the core,” he says.

“The songs in ‘Hom Rong’ are not traditional Thai numbers but newly penned songs in pop orchestral style.”

Setsiri Nirandara, director of “The Lady of Siam” sees things a little differently.

“The musical is still having a hard time growing in this country though I would agree that plays with songs are usually easier to follow than straight theatrical productions. People can latch on to the numbers and feel more in touch to what’s happening on stage,” he says.

“A lot of money goes into the making of a musical and ticket sales often don’t cover the expenses. So not all musicals can be successful. I think that the charm of the stage play or the musical stems from the interaction between the performers and the audience.”

All three concur that the success of any musical largely depends on whether the story is well known and the popularity of its cast members.

“Hom Rong the Musical” is adapted from the 2004 hit movie known in English as “The Overture” and its protagonist Khun-In is played by ranad (xylophone) virtuoso Chaiyut Tosa-Nga, the younger brother of Narongrit who starred in the movie. 

“Paendin Khong Rao” is adapted from the 1996 TV series of the same name and will see singer-actress Mai Charoenpura reprise her leading role.

For its part, “The Lady of Siam” is adapted from “My Fair Lady” and George Bernard Shaw’s “Pygmalion” and stars Namfon Pakdee in the title role.

 “If the story is well-known, the audience will easily follow the plot. My earlier productions, ‘Chai Klang’ and ‘Rae Khai Fun’, which I also wrote, failed to draw much attention” says Workpoint’s Teerawat.

“The leading players are also a major selling point. I don’t necessarily recommend sticking to the same star for a remake. There’s plenty of new talent out there and I think they will help the trend to grow stronger. Moreover, much of the success comes from word-of-mouth and social network marketing.”

“I don’t mind if I’m compared to my brother but I am not his replacement,” says Chaiyut. “Khun-In in this musical is a mysterious and ruthless character very different from the movie.”

Pradit has no qualms about bringing Mai to the stage. “She not only has the experience of playing the role on TV but she is also a leading singer. And she says herself that because she portrayed the character when she was young, her interpretation then will not be the same in the musical.” 

Setsiri is hoping “Lady” enjoys a successful run. 

“The success of a musical can be based on two criteria: the sales of tickets and the level of enjoyment the audience gets out of the production, and the critical reviews,” he says.

 “This musical isn’t about international songs but features luk krung (ballads) and luk thung (country folk). The male lead is an academic living in Bangkok while the female is a garland vendor from Isaan. So she must be portrayed by an Isaan actress who can speak the dialect as well as sing and dance. The songs are newly written by Kengchakaj Kengkarnka and are the old-fashioned kind of luk thung not the new ‘techno’ kind. That’s important because the story is set in 1968,” he concludes.

 

BANGKOK’S BROADWAY

 

n “The Lady of Siam” is at Thonglor Art Space until April 9. Tickets cost Bt640 (students Bt590). Call (095) 5424555 and (095) 924 4555 or check Facebook.com/ThonglorArtSpace.

 

n “Hom Rong the Musical” runs from from April 4 to May 3 at the KBank Siam Pic-Ganesha Centre of Performing Arts in Siam Square One. Tickets cost Bt1,000 to Bt3,000 at ThaiTicketMajor.

 

n “Paendin Khong Rao the Musical” premieres on June 12 and run until June 28 at the Muang Thai Rachadalai Theatre. Tickets cost from Bt1,000 to Bt3,500 at ThaiTicketMajor.