A prime example of contemporary Thai plays
Silpathorn artist Nikorn Sae Tang discusses many social issues in his new work
I recently got into a heated discussion with a colleague who feels strongly that theatre is a form of entertainment and that as a result – just like the way in which TV programmes will be specially regulated this October in the run-up to the cremation of His Majesty the late King Rama IX –contemporary Thai theatre activities should be stopped for the entire month. Believing that theatre and TV have different target audiences and purposes, I argued that cinemas would not be closed in the same period and that it was unlikely that they would screen only dramas and documentaries, and no comedies.
Suchittra (Pimlada Chaipreechawit) and Chansuda (Varattha Tongyoo) in an endearing scene under the moonlight.
Photo by Ubonwan Roman
Photo by Ubonwan Roman
This reminded me of the time nine years ago when the British Council was about to present a contemporary dance work by internationally acclaimed choreographer Akram Khan Dance at the Thailand Cultural Centre only to cancel it due to Princess Galyani Vadhana’s death. In case you’ve forgotten, the late princess was a main patron of dance and the Khan’s works still haven’t been seen here.
A few evenings after that argument, I was at Creative Industries watching a preview performance of Silpathorn artist Nikorn Sae Tang’s new play “Dek noi khong chan” (or “Boy o’ Mine”). I wished my colleague had been there with me to witness firsthand how contemporary plays, as entertaining as they can and should be, are far different from TV soaps and shouldn’t be regarded as mere entertainment.
While the tagline might give the impression that this is a lesbian play and it’s true that one of the women becomes pregnant without a man being involved, this is not really a comedy. The veteran playwright proves that he has plenty more to discuss with his audience over the 80-minute running time. And he’s keenly making full use of his four actors in addition to a shelf, a low table and a small piece of carpet, which help create many different locales in the audience’s imagination.
IATC Award-winning actress Varattha Tongyoo was effortless as a woman who didn't know how she became pregnant. Photo by Ubonwan Roman
What’s more significant than a same-sex relationship, which otherwise Nikorn treatd with special attention and care, in this play is the intriguing issue of immaculate conception or virgin birth, and relevant issues including parenthood. His keen research is evident in references from zoology, Christianity and Buddhism yet the play never sounds, or feels, too educational or preachy, as its comedic and dramatic components are deftly balanced. Nikorn also pokes fun at how social and traditional media respond to the virgin birth case as well as how Thai people, being Buddhists, believe in supernatural powers and follow spiritual leaders, many of whom turn out to be con artists.
At the core of the play are lovers Suchitra (TV actress and hostess Pimlada Chaipreechawit) who spends much time tracking the ups and downs of the stock market, and Chansuda (award-winning stage thespian Varattha Tongyoo) who mysteriously becomes pregnant. Despite the former’s limited stage experience – quite the opposite to that of the latter, their sheer love and care for each other is so convincing and in fact so touching that the play’s climax made my eyes water.
The zoologist narrator (one of Wisarut Homhuan's multiple roles) discussed scientific facts while setting up the stage. Photo by Ubonwan Roman
Equally delightful is Wisarut Homhuan in nine different supporting roles—some more credible than others, of course. These range from the zoologist narrator who clearly provides the audience with scientific examples, setting the right tone for the play from the first scene, while bringing in the set props for the main characters – Nat, Chansuda and Suchittra’s gay friend. He also plays an obstetrician who confirms that Chansuda is expecting and three other characters—a charismatic TV talk show host and two guests with opposing views—all in the very same scene.
Credit is also due to Nikorn as the director who fully trusts his actors’ potential and energy.
During the preview, another award-winning actress Sumontha Suanpholrat made a surprise entrance in the latter part of the play and her larger-than-life portrayal of a spiritual leader who’s riding on the hot news of Chansuda’s pregnancy, coupled with her comedic timing, was spot-on. Tonight is the last chance to watch her as Prachayanan Suwanmanee takes over from Thursday.
A slight letdown was when the characters addressed the audience directly—and they did so quite often—but we didn’t feel like we were being spoken to. Turning on the houselights, really looking into our eyes and using a different tone of voice might help.
A spiritual leader (Sumontha Suanpholrat) was talked back to her rational sense by her husband (Wisarut Homhuan). Photo by Ubonwan Roman
Before the start of the play, a line of surtitles read “8X8 Theatre, since 1998”. Apart from reminding me of my age – I’ve followed this group from the start – it also brought to mind the many memorable works by this playwright, director and his group and the vast span of subject matters, most of which are not being discussed in other media.
And that’s partly why, now that technology allows us to watch TV without having to sit in front of an actual TV set, many of us still find our way through the infamous traffic of Bangkok to get to a theatre.
Whose baby is it?
8X8 Theatre Group’s “Boy o’ Mine” continues tonight and Thursday to July 31 at 8pm with a 2pm show on Saturday at Creative Industries, 2nd floor of M Theatre, on New Phetchaburi Road (between Ekamai and Thonglor).
It’s in Thai with English surtitles.
Tickets are Bt500 (Bt 400 for students, advance money transfer only), at (089) 762 5521.
Find out more at Facebook.com/Theatre8X8.
