Getting creative with drama

We take swimming classes in order to be able to swim and driving lessons to be able to drive but of course we don’t aim to win an Olympic gold or an F1 race when we sign up. But what about acting classes? In fact most of those who have taken acting classes are not working as professional actors and several of the TV and movie superstars we know today might never have taken one. Many acting coaches, meanwhile, are running personality development classes, applying acting techniques and exercises for non-performers. 

In 2009, American playwright Annie Baker won Obie Awards’ best new American play for her “Circle Mirror Transformation”, which was staged across the Pond at London’s Royal Court Theatre a few years later. Thai playwright, director and actor Jaturachai Srichanwanpen watched the AEC premiere last year while pursuing his graduate degree in Singapore and asked his long-time collaborator Parnrut Kritchanchai to translate it and give it a Thai context. 

The result is “Lapta hen thungya khiaokhachi mi wua neung tua”, or “The Moo Moo Field”, in which Jaturachai directs a strong ensemble of five thespians: Kittiphon Udomrattanakulchai, Kriengkrai Fookasem, Khalid Midam, Punika Rangchaya, and Nualpanod Nat Khianpukdee.

The latter two have less stage experience than the former three and yet this play looks and sounds as if they have spent a great deal of time together. Credit is due to Jaturachai who deftly hones their acting style and unifies them here.

Khru Matthani, played by Kittiphon in a rare speaking role considering her butoh and physical theatre credits, runs a six-week acting class involving exercises to hone relaxation, imagination and characterisation. Her husband Samat – Kriengkrai in yet another memorable performance – is a member of the class. Other participants are divorced carpenter Chat, played effortlessly by Khalid, former actress Sarin, portrayed by Nualpanod, who delivers an engaging performance, and high-school student Tuabung (Punika in a convincing portrayal) whose class fees are still due,

For audience members who haven’t been to acting classes, this is an eye-opening experience. For those who have, the play will recall fond and heartfelt memories. For all those watching, this is a charming evening at the theatre that doesn’t aim for a strong climax but lets the audience take it in slowly, subtly and yet passionately. 

The problem is that acting classes in the US, which is the original script are referred to as “adult creative drama” class”, differ a great deal from their Thai counterparts. Tuabung even asks Khru Matthani whether, with all these exercises, she will get an opportunity to really perform and, in another scene, questions the purposes of the exercise. 

I wish Parnrut and Jaturachai had taken the adaptation further – the way Parnrut usually does in her adaptations of western plays. The result might have been an acerbic commentary on theatre education and actor training here.

With three lamps hanging from the ceiling, a standing mirror and a soft floor, Jirakit Sonthornlarpyod creates a simple but believable acting classroom. I especially enjoyed the moments when they’re in-between classes and their similarities and differences in and out of the classroom reconfirm that acting is simply doing and being in the moment, and not creating someone who’s larger than life.