Path to Enlightenment

Damkerng Thitapiyasak, artistic director of the New Theatre Society, is not only the most prolific director in contemporary Thai theatre today, but also a keen storyteller who communicates his interpretation of tales and stories, both local and foreign and classical and modern, to his audience with an amazing clarity. Yet those who follow his works know that they are not aimed at the literary purist but rather at the open-minded.
In Damkerng’s latest production, a collaboration between his troupe and Democrazy Theatre Studio, he has reinterpreted Herman Hesse’s 1922 novel “Siddharta”, aiming the drama not only at the contemporary Thai audience but also at fun-loving Buddhists. Despite this spiritual journey lasting for a full 160 minutes with just one intermission, the play matches the taste of a Thai audience who wants to smile and laugh occasionally, even when the subject matter is as philosophical as the search for the truth of life. He even adds a few songs, among them Bob Dylan’s “Blowin’ in the Wind”, to lighten the tone before returning to the serious discussion.
Another major addition that makes the play more relevant to the contemporary Thai audience is the character of the Thai teacher Amitha, flawlessly portrayed by veteran actress Parnrut Kritchancha though some will notice that her characterisation is not alike that of Nophand Boonyai’s in this year’s “Adoption”.
At first, Amitha’s task seems to be summarising or making fun of the philosophical ideas, but the audience quickly realises that she is there to offer a commentary on Thai educational system, which is the total opposite of the title character’s last discovery – that the ultimate truth lies in one self.
In the scene when Siddharta meets with Hesse’s version of Lord Buddha named Gotama (played convincingly by veteran Grisana Punpeng), the audience is given an A-4 paper detailing the Four Noble Truths, Lord Buddha’s most significant discovery and feels like Amitha will soon give them a test on the content.
Other seasoned thespians keeping the play rolling along at this fine pace include Sarayut Petchsamrit, whose shifting back and forth between three characters is both praiseworthy and hilarious, and Khalid Midam whose sincerity makes the ferryman character Vasudeva credible as well as comical.
With so many heavyweights on stage, the two young lead actors Peerapol Kijreunpiromsuk and Lapin Laosoonthorn, respectively portraying Siddhartha and his closest friend Govinda, are frequently overshadowed – more so for the former than the latter. While Sirameth deserves applause for taking on such a demanding role, he falls short in showing the audience the changing phases of this title character, perhaps because of having spent more rehearsal time on delivering the difficult dialogues realistically.
Set designer Surachai Petsangrot and lighting designer Chantika Chotekhajornthai join creative forces in painting the theatrical world for the play with many small details. They demonstrate yet again why this small theatre studio, a converted two-unit shophouse, never limits the imagination of the artists or the audience and continues to be the active theatre in Thailand.

TWO SHOWS AT THE SAME TIME
- “Siddhartha” runs until Monday and again from June 20 to 24 at Democrazy Theatre Studio near Lumpini subway station. The curtain rises at 7.30pm. Tickets are Bt500 (book and pay early for discounts). Call (086) 787 7155.
- New Theatre Society’s “Ban Cult Mueang Cult” is being staged from tomorrow to Sunday and from June 20 to 24 in the B-Floor Room and the Crescent Moon Space at the Pridi Banomyong Institute on Thong Lor. You need two evenings to watch both segments, which cost Bt600. Call (087) 901 9130.
- Both plays are in Thai with no English surtitles. Check out “New Theatre Society” on Facebook.