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  • LIFE

    Politics? What politics?

    Life, Amitha Amranand, Published on 28/09/2017

    » Jaa Pantachat's revival of her 2015 experimental comedic whodunnit Ceci N'est Pas La Politique (This Is Not Politics) may have maintained its original structure and storyline, but in this trimmed and funnier version, it has gained both clarity and poignancy.

  • LIFE

    A political message of hope

    Life, Amitha Amranand, Published on 06/09/2019

    » Back with the second of three productions to celebrate its 33rd anniversary, DreamboxTheatre Bkk steps into the future with a new playwright and fifth sung-through musical, Namngoen Tae: The Musical.

  • LIFE

    Pearls of wisdom

    Life, Amitha Amranand, Published on 22/05/2019

    » Nana Dakin is a familiar name on the Thai theatre scene. The member of B-floor Theatre is known for her intelligent and sensitive pieces of physical theatre that deal with such issues as identity, migration and violence.

  • LIFE

    Who's the hero here?

    Life, Amitha Amranand, Published on 28/03/2019

    » Scene Zero's Shogo Tanikawa emerges with another play about outsiders. While last year's 4 Seasons draws sensitive and convincing portraits of Thai immigrants in Japan, this year's Hero gives us characters that are either blurry or just plain ludicrous.

  • LIFE

    The perfect murder

    Life, Amitha Amranand, Published on 17/12/2015

    » In B-Floor Theatre's Jaa Phantachat's latest creation Ceci N'est Pas La Politique (This Is Not Politics), the audience takes part in solving a murder mystery. No, this is not a mystery dinner. Rather, it's a kangaroo court, a quiz show and a reality show all rolled into one, where we willingly become the players, and unwittingly become the jury.

  • LIFE

    Thailand looks to its artistic big brother

    Life, Amitha Amranand, Published on 17/05/2018

    » In the past two decades, Bangkok has sprouted several big and small international performing arts festivals -- Bangkok Theatre Festival being the largest event for local productions and Bangkok's International Festival of Dance and Music being the largest for international productions. Then there are emerging festivals spearheaded and run by new bloods like the Bangkok International Performing Arts Meeting that launched last year and the biannual Bangkok International Children's Theatre Fest now in its second instalment.

  • LIFE

    Redressing history

    Life, Amitha Amranand, Published on 24/11/2016

    » Two new plays have examined the notion of 'justice'. One digs into the political history of Chile and Thailand, the other takes us inside an American jury room

  • 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

    An eclectic mix of shows from last week

    Life, Amitha Amranand, Published on 05/02/2015

    » This simple dance creation by Sun Tawalwongsri and Chatchanok Hemachandra may have sprung from a loose and hackneyed concept — our relationship with other human beings and our surroundings — but it succeeds in being minimal and controlled. Sun and Chatchanok are athletic dancers and move with clean precision. They are not identical, however. Sun usually has a penchant for melodrama, but here he keeps it under control. Chatchanok is more matter-of-fact when she dances but still knows how to show her vulnerability. The two have found an interesting way of incorporating pedestrian movements into their choreography; they not only dance with their arms, legs and feet but are also very expressive with their hands. For a piece about relationships, the show feels emotionally disjointed, and the dancers could have had more of a connection with each other. The most touching scene comes at the end when Sun backs away from Chatchanok as she continues to feel his imaginary form with her hands. The sense of absence and loss in that simple moment makes more of an emotional imprint than all of the other scenes combined.

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