Caption goes here Photo courtesy of New Theatre Society
The deconstruction of classic stories has become more prevalent in Thai theatre. It usually aims to bring new life to the beaten-to-death tales, from modernising the setting to reinterpreting the dated contents, or simply mocking the fate of the characters or reinventing the storyline. But without clear direction, the results can be scatterbrained.
This is the case of the new play Ni Kue Satarn Hang Phab Kanglung (This Is The Place Of The Hidden Picture), playfully and contemptuously mocking two classic novels, Baan Sai Thong (Golden Sand Mansion) and Kanglung Phab (Behind The Painting), both of which have been resurrected several times over the decades as films, TV soaps and theatre productions.
Writer/director Parnrut Kritcharnchai’s hybridised play uses the original stories only as a springboard to reconstruct her self-penned parody about three frenzied siblings, two stuck in a dysfunctional family, their depressed past and doomed present, while one escapes to become a movie star. While they are not the same characters as in the classics, they vaguely share some of their traits and dreams.
In her own words after the show, Parnrut revealed that the play was inspired by Christopher Durang’s Vanya And Sonia And Mash And Spike, winner of the Tony for best play in 2013, taking its inspiration from characters in Chekhov. In a similar manner, she localised the Western play using two classic Thai characters. The result is mix-up and mayhem and, unfortunately, a half-finished work that needs more time for the crystallisation of its ideas.
The script recounts several stories in the spur of the moment, then swiftly moves to the next, somehow unconnected, moments. Appearing like a farce at first, Act 1 is filled with ad-lib-like dialogue, abrupt lines, and frequent yet unnecessary vulgarity, all for crowd-pleasing effect. In Act 2, however, the ambience shifts to a dramatic tone when the characters fume about their unhappy fates, then a bit slapsticky when they perform a radio-drama gag. The writing makes it difficult for some to make sense of the play’s direction, as they have to connect the dots through the fragmented storytelling.
However, such scriptwriting allows free and open interpretation. One can see that the play plainly mocks the banality of Thai classical characters stuck in their romanticised world yet yearning for the reality of life. It also questions the old generation that refuses to adjust to change in the new era. It features the clash between different classes that still exists in Thai society. And it satirises Thai politics, where “the villains” are walking outside the house while misfortune symbolically chains the suppressed characters in their comfort zone inside.
There are many ways to interpret this play, as if it were a postmodern painting. Still, if this is the case, could it also be implied that the play lacks clear direction and a clear theme as many traditional theatregoers would expect? It’s also interesting to think, what if the story is just translated from a Western script, in a localised setting? What if the story is just about three characters in competition to gain attention from the young man or woman in their sorry lives? Will it achieve the effect it aims for with this mix-and-match script? The play is comically and dramatically presented by three balls of fire. While the script might every now and again sound unexpected and lack motivation, Supasawat Buranavej as Chai Klang, Nilacha Fuengfukiat as Keerati, and Pariya Wonrabiab as Pojaman still manage to offer good chemistry, spiced with good timing for puns and witty lines. And the stage designer is smart to maximise the limited walkway at Thonglor Art Space by integrating it into the performing space and adding an imaginary layer into the scenic presentation.
Undoubtedly, Parnrut has good intentions in reconstructing a Thai play, using a Western skeleton and adding Thai flesh and blood. It would be quite an understatement to consider this play as just an experimental work, since it clearly has a strong foundation to develop on and lots of ingredients to make a well-presented play. It just needs a little more time for cooking before it can be served on an eye-pleasing plate with palatable taste.
will be performed at Thonglor Art Space until July 25. Showtime is 7.30pm with a matinee at 2.30pm on Saturdays and Sundays. Tickets cost 550 and 350 baht (for students with valid ID) and are available at the theatre or by calling 095-924-4555.
This source first appeared on Bangkok Post Lifestyle.