Two decades ago a Singaporean theatre artist friend commented that there were many skillful theatre artists and companies here in Thailand but the problem was they didn’t like working together. The founding of the Bangkok Theatre Network (BTN) and Bangkok Theatre Festival (BTF) has partly changed that notion though there is still some hesitation by members of any group at leaving their comfort zones – the dramatic content, theatrical styles and even venues they’re familiar with – to collaborate with others.
Two years ago during the month of love, Wichaya Artamat teamed up with four playwright and director friends and they, under the name of Chomrom Sutwisai (literally the “out of control” club), presented five playlets under the name “Rak Khon La Khang” (“various sides of love”) at B-Floor Room.
Now they’re back, with a few new members and with “Long” (literally, “lost” or “obsessed with”), another quintet of plays at Democrazy Studio. And just like the way they used the word “Khang” as a prefix for many words back then, “Long” is used as excitingly differently here.
In Jirakit Soonthornlarpyod’s “Longthang” (“getting lost”), three characters are trapped in an undefined space in total darkness except for the green lights from their helmets. In Wichaya’s “Longluea” (“remaining”), the two sibling characters from the award-winning “Three Days in May” return to discuss who should get their father’s favourite bowl. Jaturachai Srichanwanpen’s “Longlai” (“infatuated”) cheekily satirises the Thai fascination with the supernatural and that of young Thai women with love. Veteran stage actresses Sawanee Utoomma and Jarunan Phantachat hilariously show us a glimpse of themselves a few decades from now in Parnrut Kritchanchai’s “Longluem” (“forgetful”). Finally, Dujdao Vadhanapakorn delivers another performance of the year as a blind woman in her “Longkon” (“tricked”). She shares with the audience a truly passionate personal story and, with Thai radio’s current no 1 hit playing at the beginning, a subtle political satire.
Most of actors are truly natural, and it seems that many of the playwrights/directors also allowed their actors to help create their dialogue, making their stories even more convincing and touching. Apart from being linked by a navigator, joyfully performed by Sethsiri Nirandorn who masterfully shifts in and out of different costumes and characters and gives a brief introduction to each playlet, the five share a few common props and references, and I wish here there were more. The fact that most playwrights/directors also performed in others’ plays also helps glue these five different works together.
A sheer delight and big surprise was that the five playlets were staged in four different spaces – two in the studio, one in the backyard, another in the small foyer, and the last on the sidewalk next to the small bar/cafe. Each was set up in accordance with the content and the style of each play and despite problems with the audience’s sight line in some of the space, shows that size never limits the artists’ imagination and creativity.
Two hours passed before I realised that I had been suffering from another stomach problem. “Long” didn’t heal it of course: I was mesmerized by its wonder only to be better guided in my real life.
Last performance tonight
Long” is at Democrazy Studio, Soi Saphan Khu, Rama IV road (5-minute walk from MRT Lumphini, Exit 1).
The last show is tonight at 8pm.
It’s in Thai with no English surtitles. Tickets are Bt550 at (081) 701 7992.
Find out more at Facebook.com/DemocrazyStudio.
This source first appeared on The Nation Life.