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ลองอ่านของทาง The Nation บ้างนะคะ แต่อาจจะไม่ละเอียดทุกเม็ดแบบ Bangkok Post
Mixed emotion from a night of diversion
By Pridiyathorn Devakula
Published on May 25, 2009
LAST WEDNESDAY, I was very fortunate to be invited by Dr Amnuay Weerawan to a festive gala night watching a play called "Mae Nak Pra Kanong the Musical", created and directed by Takolkiat Weerawan at Rachadalai Theatre. The hall was packed, as Takolkiat's plays have never failed to impress the audience. I have been one of his fans since his first stage musical "Ballang Mek" and found that every play of his was impressive and pleasurable. However, to describe "Mae Nak Pra Kanong the Musical" as "fun" would be an understatement. Having been among the audience that night, I was fully contented with various emotions - excited by the stage's sets that portrayed faithfully the time period of the play, startled by the sudden sounds that popped up when we were unprepared, nervous when the actors were about to confront Mae Nak, amused so much that I couldn't resist bursting out laughing during some acts, engrossed with the beautiful songs and touching lyrics that clearly conveyed the feelings of the characters, and deeply impressed by how Mae Nak cherished Por Mark, her husband.
It also engendered a lot more unexplainable feelings. Not only was I fully contented, I was also in high spirits all night long since the start of the play until my bedtime - forgetting, for the first time, the never-ending political conflicts and the irregular moves of some ministers towards some suspicious projects, for a whole night.
I knew about Mae Nak Pra Kanong through the movies when I was young. I remembered being boggled with fright by the horror scenes and sounds, scared along with the actors in the movie when they were about to face Mae Nak, and amused by the poses of those actors when fear overwhelmed their minds, more or less in the same way that cropped up in Takolkiat's play.
The things that this play does better than the movies in the past are the ability to clearly show why Mae Nak's soul, whose nature was rather peaceful, had to stand up to fight and finally ended up threatening and attacking others, and the use of songs to portray the soft side of her soul, which induced the audience to absorb her true feeling.
Most importantly was the ability to impress upon the audience the tender fondness that Mae Nak felt for Por Mark, the pure and true love that one lady wholeheartedly gave to her husband.
All these made the audience sympathise with Mae Nak and understand her behaviour, whether right or wrong. As she described as part of her last song while ascending to the funeral pyre, "good or bad, all were done because I love you".
Nat Myria, the leading actress, sang this song most beautifully, not only with great voice but also with her feelings of love and sorrow concurrently expressed while singing this song. Speaking of Nat, I cast my mind back to "Fah Jarod Sai the Musical", in which she was also the leading actress. In that play, she sang very well as she was gifted, but her acting performance could not be regarded as perfect yet.
She could not evince the exact character of the heroine as described in the novel. That might be because she was cast with Moss, Patiparn Pataweekarn, who is very talented both in singing and acting. When it came to the "Mae Nak Pra Kanong" play, Nat's performance that night was perfect and deserved that big round of applause bestowed on her for a very long time at the end of the show.
Nat was able to express the true feelings of Mae Nak in every act of the play. She sang in a way that clearly carried the story and conveyed the character's feelings as quality actresses of musicals are supposed to do. Her performance in this play made me wish to see her again in other plays, with the same passion I have for Sinjai.
Up to now, readers may have got the impression that this play has no weak points. Yes, there are some. A little weak point is in the singing of the leading actor, Por Mak, who was cast in a musical for the first time. He sang nicely with a resonant baritone voice. However, in one song, which actually needed a tenor's range, he could not reach the higher pitch and had to hit the high notes using his head voice instead.
While accessing his head voice, he did not actually hit the true range. Generally, however, he sang well in his resonant baritone.
Another weakness was in some of his acting performances, which were not convincing. As soon as he really learnt that Mae Nak was dead, his facial expression and posture were more of aversion than fear and terror, which should not be the expression of a real man who loves his wife fondly and had spent seven nights with her before learning she was dead. If it was disgust, how could he later hug her vividly toward the end of the show? However, if it was simple fear and terror, appreciation of the true and pure love Mae Nak had for him could overcome all those off-putting feelings and entice him to wholeheartedly embrace her in the few last scenes.
Even with some minor weaknesses, I would still rate this play very highly. Praise is due for Takolkiat, who could make this a good play beyond expectation and depicted a more correct picture of Mae Nak, who has been misunderstood as a haunting spirit for quite a long time.
A big round of applause is also due for all the acting crew for their perseverance through months of practice and their putting on an excellent performance. I would like to say that among all the plays created by Takolkiat, I rank "Mae Nak Pra Kanong" highly, second only to "Ballang Mek".
จากคุณ :
mylollipop 
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28 พ.ค. 52 10:52:57
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