Sex, murder and mystery

Playgoers who’ve been to Thong Lor Art Space know that its studio theatre on the ground floor has a unique characteristic.

 Converted from the lobby of a guesthouse, it has a mezzanine floor that’s a challenge for any director and set designer working in this space. 

Yet in the ongoing play “Dans le noir”, or in Thai “Nai khwam muet”, scenic designer Banphot Wudhiprecha deftly tackles this issue in such a way that it looks as if the two-storey set was purpose-built for this production. Even a partially broken wall is meaningfully used and integrated with the content of this suspenseful detective story. 

Adapted from Canadian playwright, director and actor Robert Lepage’s “Le Polygraphe”, which premiered on stage in 1987 and which Lepage himself adapted into a film in 1996, director Damkerng Thitapiyasak, a master of adaptation, has relocated the dramatic events from Quebec City to Bangkok. He convincingly integrates the real-life murder of Thai-American teenager Sherry Ann Duncan in 1990 into this gripping drama with three nicely wrought characters.

Rujira, a professional actress portraying the title role in “Hamlet” on stage, has just been cast in a movie that’s based on this murder case. She lives on the same floor of an apartment block as Satanond, the main suspect in Duncan’s murder. Danuwas is the criminologist who administered the polygraph test to Satanond, which cleared him of suspicion. Rujira provides the sex element, having had a relationship with both men. 

Kwankaew Kongnisai, who’s been seen in supporting roles in many commercial musicals, delivers a performance of the year in her portrayal of Rujira, and puts herself on the already crowded list of the year’s best performance by a female artist. 

With strong compassion and integrity, it was difficult for me to focus elsewhere when Rujira was on stage on the press preview night. Veteran actor and filmmaker Pramote Sangsorn, as always, was a reluctant leading man and that’s part of the reason why we easily believe everything his character Danuwas utters. Newcomer Wisarut Himmarut, as Satanond, lacked confidence and stage presence in the early scenes but towards the end proved that he could work with thespians many years his senior.

The production’s visual aspects – with the exception of the costumes, which make these characters look like they’re in a European drama – are a pure delight and that’s a clear sign of how scenic designer Banphot has worked hand-in-hand with motion graphic designer Chualayarnon Siriphol, lighting designer Supatra Kruekromgsuk and Damkerng himself. 

When the projection supports the dramatic actions, adding the information and enhancing the mood and tone of the scene, the total effect is cohesive. When it’s doing too much by, for example, showing a close-up shot of what’s happening onstage, it takes the focus away from the play’s human element, or the core of the drama.

 In Lepage’s original production, the use of film was to question the reality, or rather the truthfulness or credibility, of the medium. In this production, it’s on the same track but has yet to reach its goal

 

 IN THE DARK 

- “Dans le noir” continues every weekend until October 9 at Thong Lor Art Space (BTS: Thong Lor, Exit 3). 

- Showtime is 8pm on Friday and Saturday and 4pm on Sunday. It’s in Thai with English surtitles. 

- Tickets are Bt590 (Bt490 for advance transfer and Bt440 for students), at (095) 924 4555. 

- Find out more at Facebook.com/ThongLorArtSpace.