From studio to stage

Published on July 25, 2007

Notwithstanding its popularity and entertainment value, stage comedy "Chai Klang" suffers from several problems, not least of which are its television mentality, commercialism, too many stars and a nasty tendency to spoon-feed the audience.

Scenario's "Fah Charod Sai" finished its run at Muang Thai Rachadalai Theatre on July 15. Six days later, Work Point Entertainment's subsidiary Round Table Television, known as Round Table Theatre exclusively for this occasion, had its comedy "Chai Klang" up and running on the very same stage.

Quite an amazing feat, especially when you consider the knights of the Round Table have never produced a professional play. However, it is less amazing when we learn that the house company wants to earn a few millions from the rental fee - reportedly Bt200,000 per performance - while they're preparing for a new production of "Luk Khun Luang".

Meanwhile, it looks as if TV's game show experts want to venture into new territory and reap in the cash. So, demand meets supply perfectly and both business partners are happy.

If that's the case, then this star-studded and hence almost sold-out comedy is, commercially, tremendously successful. And, to be fair, there's nothing wrong with putting extra effort into something you've never done before and about which the audience is highly excited.

But it is unfortunate that Round Table has made it so commercial.

Based on the award-winning play, "Pritsana", produced in 2003 by the architecture students of Chulalongkorn University, "Chai Klang" was a well-tested comedy filled with intelligent jokes and colourful characters.

But some of what worked back then fails to work here.

Movie and television stars have replaced students in the major roles, while other lesser known actors, many of them with more stage experience, fill up minor roles and have few moments to shine.

While all were able to deliver the gags, they failed to work as a team.

Perhaps this is due in part to the director's lack of stage-directing experience, as well as to the schedules of the stars themselves. During Sunday's matinee, many actors looked and sounded as if they didn't know what had happened in the previous scenes and that their sole purpose was delivering their own lines in the best manner possible.

One actress, who seemed to think that dialogue had to be shouted out on stage, lost her concentration, burst out laughing and ruined an exit line. Another actor took over-acting to such a point that his character lost all its credibility.

"Chai Klang" ran for about 195 minutes, making it one of the longest comedies in professional Thai theatre.

For many members of the audience, the first half, exactly two hours long, was more than enough, so they didn't bother returning for the better-paced second act. The director could solve this problem by cutting most, if not all, musical sequences. Despite the amusing lyrics, the spectacular stage visuals and commendable ensemble work, the sequences just drag the play without taking the plot forward.

For instance, the song "Jealous Mother and Daughter", which opened the second act, partly attempted to mock "Fah Jarod Sai" but only succeeded only in repeating the plot.

Towards the end, the audience was given a recap of major events and speeches in music-video style - another bad idea. The producers could have earned a lot more - their major concern anyway - as cutting this sequence would have saved them the cost of hiring a small orchestra and conductor.

Secondly, some scenes could have done without out-of-context jokes and unnecessary characters, while the pace of most scenes could have been tightened to better serve the comedy.

It shouldn't have taken them some 15 minutes to tell us why the protagonist Somchai had to "sell out" and start writing romantic novels.

Unlike most TV and film audiences, playgoers come to the theatre ready to exercise their imagination (I'm repeating the sentence I used my "Fa Charot Sai" review here). We don't need to be told and shown everything. We didn't need to see and hear 10 maids to believe that Chai Klang was quite well to do and that Pritsana would later appear as one. Nor did we need a character to tell us that the real world and the fictional world were sometimes inseparable. The effect would have been more impressive, touching and lasting if we were allowed to find that out for ourselves.

But again, this isn't too surprising because the producers and the financiers have been creating TV sitcoms for a living.

Before they produce a second play, if ever, they would be well advised to read more dramatic masterpieces, watch more plays or seek some professional advice.

Some people may wonder why such a fuss is being made over a mere comedy. Well, when each ticket costs Bt2,000, we certainly have that right.

"Chai Klang" continues until Sunday. Tickets are available at Thaiticketmajor.com. For more information, visit ChaiKlang.com.

The writer can be contacted at Pawit.M@chula.ac.th.

Pawit Mahasarinand

The Nation