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  • LIFE

    Not entirely transfixing

    Life, Amitha Amranand, Published on 07/06/2019

    » For its second production, Qrious Theatre transplants the 2005 American film Transamerica to Thailand. TranS I-Am is an awkward US-to-Thailand and screen-to-stage adaptation, but it's sweet and offbeat enough to charm.

  • LIFE

    Grace, beauty - and self-discovery

    Life, Amitha Amranand, Published on 01/12/2017

    » Unfolding Kafka Festival 2017 ended in Chiang Mai on Sunday. This year, under themes of gender identity, animals and folding and unfolding of the body and objects, the festival's performing arts programme doubled in size. Life reviews all the seven performances presented in Bangkok.

  • LIFE

    Garden of dreams and delights

    Life, Amitha Amranand, Published on 09/05/2019

    » B-floor Theatre, Thailand's only physical theatre company, turns 20 this year. And they are marking the occasion with Shakespeare.

  • LIFE

    Dragon's Heart returns

    Life, Amitha Amranand, Published on 26/08/2016

    » Musicals about the lives of Thai defenders of democracy and human rights have come to define director and playwright Pradit Prasartthong's body of work since he founded the Anatta Theatre Troupe in 2012. He's imagined the intimate and personal moments of the late writer Sriburapa, first lady Poonsuk Banomyong and former rector of Thammasat University and Free Thai Movement member Puey Ungphakorn.

  • LIFE

    Freedom of the stage

    Life, Amitha Amranand, Published on 22/05/2015

    » Ornanong ThaisriwongPerformer, director | B-Floor TheatreRecent work: Bang La MerdUp next: See Wan Nai Deun Kanya (Four Days In September)

  • LIFE

    Dance without a safety net

    Life, Amitha Amranand, Published on 09/08/2018

    » Choreographer Thanapol Virulhakul is adamant about creating performances that defy the definition of dance. In his "contemporary dance piece" Hipster The King, performers stand in a tableau for most of the show. In Happy Hunting Ground, the choreography consists mostly of jogging up and down the stage.

  • LIFE

    No comfort for young women

    Life, Amitha Amranand, Published on 17/08/2018

    » One of the biggest issues commanding media attention in the past year has been that of gender violence. And Peel the Limelight has dedicated this year to staging plays that shed light on the topic from different angles, starting with a production of Agnes Of God, about a young nun with a history of abuse. That was followed by I Am My Own Wife, a one-person play about the life of a transgender woman during World War II and the Communist regime in East Berlin.

  • LIFE

    Shows for all seasons

    Life, Amitha Amranand, Published on 15/03/2018

    » March kicked off with the return of French choreographer Jérôme Bel to Bangkok, bringing with him two productions to close the French Highlights #3. Then English-speaking theatre company Peel the Limelight celebrated International Women's Day with the premiere of their latest production of Agnes Of God in their new and larger venue, Peel the Limelight Studio, just across from their old home, Spark Drama Studio, at Jasmine City building in Asok. And Bangkok-based Japanese theatre artist Shogo Tanikawa founded his own theatre company Scene Zero and gave birth to a new play. Here are our reviews of these performances.

  • LIFE

    Gender identity, animals and Kafka

    Life, Amitha Amranand, Published on 02/11/2017

    » Every two years, Jitti Chompee puts on his festival director's hat. The dancer-choreographer and founder of 18 Monkeys Dance Theatre founded Unfolding Kafka Festival in 2015. In its first year, the festival featured four performances, one installation and a workshop. This year, the performing arts portion of the festival has doubled in number.

  • LIFE

    Chit Phumisak, on stage

    Life, Amitha Amranand, Published on 07/09/2017

    » Splashing Theatre returns to the stage with Teenage Wasteland: Summer, Star And The (Lost) Chrysanthemum, a play inspired by the life and work of Chit Phumisak. At times moving, at times frustratingly obscure, Thanaphon Accawatanyu's ambitious new creation makes a subtle statement about institutional violence against Thai youth and political dissidents.

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