Two Mae Nak

MY admiration goes to two hard-working theatre companies -Dreambox and Scenario - who have revitalised in a special way Thailand's most famous female ghost, Mae Nak, in new musicals for Thai audiences. Thai theatre deserves to have attention from middle-class theatregoers who will fill up seats at both shows.

It shouldn't take anyone by surprise that two companies happen to offer the same tale at about the same time, but the most fascinating fact is that at least 100,000 seats in total for both shows have been sold. There is nothing wrong if competition brings new audiences to enjoy a worthwhile theatrical experience, satisfying them with a production that is full of surprises.

Scenario's production, "Mae Nak Phra Khanong, The Musical", at Ratchadalai Theatre, sees Mae Nak played by Nat Meria Benedetti. I really admire the story line and the whole show they have created for her. Her ghostly life is full of fun; even extending to the effective way she chokes her opponents. The cinematic appearance at the temple is also a clever idea to make her character strong. I heard a lot about Mae Nak before going to see the show but the real thing was entertaining and amazed me, as if I were in a ghost theme park.

The one weakness of Scenairo's production is the music, thanks to its poor pop and rock tunes, which we hear a lot in everyday life. In other words, the music is not very dramatic: The tunes seem rather banal. There is no unity in the pop and rock numbers either. When compared to the celluloid version of "Nang Nak", director Takolkiat Veeravan showed his ability to come up with the right adaptation.

But Scenario puts the right action, drama and humour in the right paces. Mae Nak played by Nat Meria is an absolute joy to watch. Her role is so colourful and she is nothing but the focus of the show. This visualisation of the Mae Nak legend is an extraordinary presentation. In particular, the scene where she is on a gigantic screen at the temple, arguing with villagers, is very impressive.

If there is any particular thing that seems to be out of place, I would pinpoint the role of the mor phee (the exorcist) played by singer Tik Shiro. He appears too Western to convince audiences that he is a mor phee in the old Phra Khanong community. But is he entertaining? Yes, like the rest of the cast, he does entertain the audience.

Dreambox has its own touch, with very sophisticated music composed by playwright and lyricist Daraka Wongsiri. The Dreambox cast members are all top singers, except the leading male role that goes to Worarith Fueng-arom, who stars as por Mak, Mae Nak's husband. The excellent script and outstanding performance makes this production the deeper interpretation of the two, a complete drama instead of just another ghost story.

In this story line Mae Nak has less of a leading role than in Scenario's production. The show was a little too long, yet the Dreambox company proves once again that less is more, with simple props and sets providing the best result at the end.

Particularly impressive scenes include the floating vessels of death, in when Mae Nak's spirit is being picked up, and the broken bridge at the climax of the story, and whether por Mak will decide to live for eternity with a ghost or let her go to the after-world.

All of this rich creativity impressed the audience. The show also inspires us to think beyond the stages of life and death. Applause goes to Dreambox for this particular point.

Both Mae Nak musicals have caught the period atmosphere with surprising success.

In the West, there are many horror stories with male protagonists like Dracula. While in the East, we see more female ghosts on screen or stage, like Mae Nak and the White and Green snakes.

The new generation of directors offers many interpretations of tales that have been told countless times. The beauty of this is that these ghosts can haunt us again and again, tirelessly. I don't mind the competition for one ghost presented by two theatres, and look forward to experiencing more theatrical treats that can pave the way for another generation of actors, directors and producers. We should be glad to experience such fine performances that spice up the Thai musical and theatre scene.

Hopefully, we will make progress in professional, amateur, experimental, traditional and contemporary theatre.

In the case of the two Mae Naks, no one loses through such competition and theatre and art lovers stand to benefit from this haunting experience.