Pichet makes it personal

The clutter facing the audience at the refurbished Chang Theatre seems like a metaphor for modern Thai culture, a hotchpotch of old and new. Pichet Klunchun performs “Culture and Fact” amid a jumble of figurines – for example, a dancer and miniature dinosaurs – and the traditional chada headdress.
The seating is thoroughly modern – red leather armchairs like those found in luxury cinemas. Only the cup holders are missing.
“Culture and Fact”, continuing all this month, is a solo performance in the strictest sense. Pichet handles all the props and even switches the lights and music on and off. He seems to be emphasising that the views expressed are his alone.
But he speaks only in one scene, and in English, portraying a Thai tour guide astride a child’s tricycle. Addressing viewers as if they’re foreign tourists, he offers whatever they might desire – a beach vacation, a show of classical Thai dancing, or how about sex, in person or on DVD?
Otherwise Pichet lets video sequences comment on the disingenuous guile that’s replaced the sincere smile in Thailand. He tapes his mouth shut while showing a YouTube clip of Thai monks misbehaving on a trip to Europe. He remains silent while his battery-powered dinosaurs lurch around after showing a videotaped khon (not one by his company).
Regarded overseas as a proponent of classical Thai dance, Pichet here presents more of the contemporary theatre for which he’s better known as home – and barely dances at all. His aim is to voice his concerns about Thai politics and culture, using forms other than dance. He reminds us that he too is a citizen who votes.
It occurred to me while watching that our Culture Ministry has one of the smallest budgets in government and its chief is among the least-known Cabinet members. The ministry maintains separate departments for traditional and modern art forms, with most of its funding going to the former.
I also thought about Wat Pathum Wanaram, scene of some of the worst atrocities of the May 2010 political violence. The temple and its school huddle beneath shopping centres, huge hotels and the Skytrain corridor. While other supposedly flood-free areas yield to more high-rises, the temple remains.
This is an 800-year-old country of vivid contrasts, which is one of its great charms in the eyes of many people. We just need to learn how to enjoy it.
Because the performance is so personal, the impact of “Culture and Fact” wouldn’t be as strong if it were presented in a larger theatre. I can see it working well as part of an art exhibition. As it is, getting to the Chang Theatre in the early evening is quite a trek, especially if it’s raining. It’s in a residential area of Thonburi, far from the train and subway.
Once there, though, patrons are warmly welcomed by the attendants, most of whom are dancers in Pichet’s company. Light snacks and beverages, including alcoholic ones, are free in the reception area. After the show you can stay and share your thoughts with Pichet.
When it’s time to go, they’ll summon a taxi for you. When I was there someone from the audience called out an offer to drive anyone to the Chidlom area and several people accepted.
That just doesn’t happen at any other theatre.
 

JUST THE FACTS
“Culture and Fact” continues tomorrow and Saturday and on July 27 and 28. Show times are at 8pm.
Pichet’s Chang Theatre is on Soi Pracha Uthit 61, a 10-minute drive from King Mongkut’s University of Technology Thonburi.
Tickets cost Bt1,000 (Bt250 for students). There are only 20 seats, so you should reserve a place by calling (080) 924 0002. Find out more at the “PKLifeWork” page on Facebook.