In love and revolution

Pradit Prasartthong, the first recipient of Silpathorn Award in Performing Arts and artistic director of Anatta Theatre Troupe, seems to suffering from a strong case of hyperactivity.
After co-creating “Maya Yak” with his Silpathorn colleague Nikorn Saetang at Bangkok Art and Cultural Centre last month and with the 11th edition of his “Bangkok Theatre Festival” about to kick off on Saturday, he is performing in “2475 The Musical: Retro Love Story in the Revolutionary Time”, which he also wrote and directed.
Pradit was inspired by the story of Phunsuk Banomyong in Chamaiporn Sangkrajang’s novel “Santi Priti”, as well as other sources. In the director’s note, he writes that “2475” is merely a melodramatic story.
Such a statement tends to encourage the audience to look for more, and we found plenty that made the drama much more than a musical play set mainly in 1952, 20 years after the change from absolute monarchy to constitutional democracy. The 90-minute musical play didn’t throw information at the audience but through dramatic actions allowed us to observe and empathise.
“2475” is a reminder of how long we have been fighting for and how much we have sacrificed for our democracy. It also reminds us that differences of political opinions are part and parcel of a democratic country and that we must learn to live with and even enjoy such differences by respecting opposing opinions.
Pradit also wrote that he was inspired by his lead actress Pavinee Samakkabutr, and her immaculate portrayal of Phloen, who was imprisoned simply because she didn’t reveal the whereabouts of her husband Prida, explains why. My favourite scene was when she met with Police Colonel Phra Phiphit, portrayed by Pradit, who worked for her father. I was also deeply moved when she visited her son Saipan (Sukhumphan Thitithanaphan) in prison before she set off to find her husband in France.
Another highlight was the lighting design by Supattra Kruekrongsuk and Thotsapol Wipolkul, who convincingly and atmospherically turned the blank and greyish space into different scenes.
With just three musicians, “2475” provides proof that a good musical doesn’t need the services of a 30-member orchestra. The cast was lean and mean too, numbering just eight members but strongly unified in an ensemble.
It’s also evidence that we can watch and enjoy a musical that is not based on stories we already know. After all, long before we fell in love with Broadway-style musicals, our predecessors were enjoying Lakhon Rong, adapted from European opera into a unique style to better please the Thai ear. Music director Kengchakat Kengkankha’s work in “2475” reminded me of that.
At the same time, “2475” shows that if our passion for musicals prevails, many stage thespians, including Pradit and Pavinee who were outsung by other actresses like Sukanya Sompiboon and Saowanee Wongchinda, will need to take singing classes.

LAST CHANCE
The last performance of “2475 The Musical” is 8pm tonight at Democrazy Theatre Studio in Soi Saphan Khu (10-minute walk from MRT Lumpini, exit 1).
It’s in Thai with no English |surtitles.
Tickets are Bt550 and are available by calling at (087) 998 4455. For more, visit “Democrazy Studio” at Facebook.