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Pluggedin :Lost in the desert
Muang Thai Rachadalai Theatre's first production,'fah jarod sai',is a barren Disappointment
A Thai play set in a desert, "Fah Jarod Sai: The Musical" proves that the quality of any theatre production, the software - is far more significant than that of its theatre venue, the hardware.
With the fully equipped stage, well laid out seat plans and good acoustics, the purpose-built 1,450-seat Muang Thai Rachadalai Theatre is, as advertised, of Broadway standard and guarantees a pleasant viewing experience. Credits, kudos and congratulations are due to millionaire producer and director Takonkiet Viravan and his associates.
Nevertheless, the multi-million-baht production that marks the theatre's debut has not made it all the way to New York. It is stuck half way in a sand dune somewhere in North Africa, both literally and figuratively.
Four aspiring playwrights have adapted Sopak Suwan's best-selling romantic adventure "Fah Jarod Sai" ("Where the Sky Meets the Sand"), ingeniously omitting many background details and small anecdotes to move the story forward. While the overall length is reasonable, the two acts are not well balanced. The first whisks away and bombards the audience with plot information and stage actions; the second is blessed with more dramatic and lingering moments.
And since some characters are left off in the page-to-stage process, the remainder should have been given an additional dimension to make them more realistic and render their actions plausible.
When the female villain Kasfiya (Ratha "Ya Ya Ying" Po-ngam) makes her first entrance, through an amazingly large door of an extremely low budget airliner, she looks as if the on-board meal and entertainment were very disappointing.
Also, one wonders if poison were constantly being added to throne usurper Oman's (Patcharapol "Vit AF1" Jantieng) mint tea. His eyes keep rolling upwards throughout the show, and he even performs a few ballet moves right after the coup d'etat!
An almost sung-through musical, the show opens with a big musical number that has a slight Arabian flavour. Then the pop kicks in, dominated by romantic ballads and patriotic tunes. It's as if the producer wants a few of these numbers to be played on radio stations run by sister companies but he succeeds only in turning this musical into a series of music videos shot in exotic lands.
Also, given that the music composition was finalised after the casting, many songs should have better accommodated some actors' vocal ranges.
As Sharif, the royal guard and physician torn between love and duty, former teen idol Patiphan "Mos" Pathaveekarn shows that he can now be taken as a serious actor.
As the convent-educated foreign teacher Michelle, Myria "Nat" Benedetti subtly steals the show from him, and the hearts of many audience members, with her superior acting and singing skill. With stature, authority, and compassion that make his character well-rounded, Sarunyu Wongkrachang commands the stage as King Ahmed. Arduously trained in dance and singing, all members of the chorus work well as a supporting ensemble.
Takonkiet's signature is the full frontal performance. He instructs his cast to frequently break away from their scene partners, no matter how dramatically intimate the scene may be, and perform directly to the audience, just like in a concert. This technique occasionally worked in his previous productions at the Thailand Cultural Centre. But in this new venue, the distance between the performers and audience is much less, and the all-out high-octane acting and singing result in emotionally detaching the audience in the front sections.
While the costumes are commendable, a major visual disappointment is the set design, another grand aspect for which this company's previous productions have been acclaimed. Although the detail shows evidence of indepth research, the fictitious city of Hillfara, the palace, and the desert, with little help from the lighting, look flat, just like those of a ballet production from an underdeveloped European country decades ago.
And the closer you are to the stage, or the more you pay for your ticket, the more set construction defects you will see. The most old-fashioned device looks like a treadmill, borrowed from the popular fitness centre downstairs perhaps, placed centre stage so that the characters can walk on it, illustrating their long walk through the desert. One goes to the theatre, I believe, ready to exercise the imagination.
Mediocrity may not be a misdeed, but when it draws Bt2,500 out of your pocket and 170 minutes of your time, it's certainly getting there. If you have not purchased a ticket to this talk-of-the-town musical spectacular, you may consider saving your cash for the truly world-class modern theatre performances during the upcoming French cultural festival, La F๊te.
Pawit Mahasarinand
The writer can be reached at pawit.m@chula.ac.th.
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Fah Jarod Sai: The Musical is performed 7.30pm daily (except Mondays) with matinees at 2pm on Saturdays and Sundays at Muang Thai Rachadalai Theatre on the fourth floor of the Esplanade Bangkok on Ratchadaphisek Road (MRT: Thailand Cultural Centre, exit 3). Tickets are Bt2,500, Bt2,000, Bt1,500, Bt1,000, and Bt500, available at Thaiticketmaster. For more details, see www.scenario.co.th.
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28 พ.ค. 50 19:44:25
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