Sound of nostalgia

Hit movie Hom Rong (The Overture), which mixed drama with Thai classical music, proved popular among audiences when the film was released in 2004 and later adapted for television in 2012. The same result is expected with Hom Rong The Musical, which kicked off early this month and will run until early next month at the new K-Bank Siam Pic-Ganesha Theatre in Siam Square.

Thriving on the legacy of the highly-acclaimed film, the musical can be seen as a faithful adaptation of the original script, spiced up with music and practical jokes throughout its three-hour performance. It not only features a strong cast that manages to revive the spirit of Thai classical music, but also marks the inaugural opening of a new space for performing arts right in the heart of Bangkok.

Inspired by the autobiography of Luang Pradit Phairoh (Sorn Silapabanleng), a gifted musician and performer of ranad ek (Thai-styled xylophone), the production sustains the same cinematic flow by shuffling between his journey from childhood to fame, and from the golden age to the depression of the Thai music scene due to cultural reform and the modernisation period in 1940s Siam.

Experiencing this musical is quite a memorable journey, yet the libretto — based on Ittisoonthorn Vichailuck's movie script — could certainly be improved. While the impressive aesthetics of the film helped audiences travel smoothly back and forth between the past and the present, it took theatregoers — especially those who have not seen the film — quite a while to realise that there were shifts between the two periods. This is a result of vague connections between scenes, ambiguous sequencing of story narratives and overuse of two-dimensional sets. All of which were unable to clearly distinguish between the two different phases in Sorn's life — at least during the first hour of the show.

The musical was, however, kept lively thanks to the strong cast, chiefly veteran TV actor/director Suprawat Pattamasoot in the leading role as the mature Sorn. Joining him is singer-cum-actor Kornkan "Aarm" Sutthikoses — with a few musical theatre productions to his credit — who showed his hard work with the role of young Sorn, especially in how he performed ranad ek like a pro. As his vocal talents obviously lie in his ability to croon Thai ballads and contemporary pop-style music, he was unfortunately unable to bring the emotional gravitas to some of the scenes, like, for example, when Sorn loses a musical battle to his nemesis, Khun In. He did, however, excel in the ranad ek duel that serves to intensify the climactic showdown.

Since the musical concentrates on Sorn's rise to fame, many characters appear as ornaments — and as are such a waste of real talent. Gifted singer Sathida "Nan" Prompiriya, as Mae Chote, charms with her sweet, breathy voice crooning Siang Nan Siang Neung (That Voice, That Sound). Unfortunately, the lyrics do not allow this role to show whether or not there is a woman behind every great man. Sathida and actress Duangjai Hataikarn merely appear as young and old Sorn's wife respectively and not a source of inspiration or any influence in his achievements.

Even the powerful role of Khun In is minimised to just a cold-hearted evil man. While such black-and-white characterisation works well with the talented ensembles, it also reduces the many-layered depths of many other characters and talents in the supporting roles.

There was one "triple threat" actor that managed to stand out. Singer-cum-actor Anusorn Maneeted showed off an excellent mix of acting, singing and dancing, in his role as Lt Col Veera, a policeman who banned Thai classical music for the sake of national modernisation (a cultural policy back then). Undoubtedly Anusorn can sing, but — surprisingly and convincingly — he can also bring his demanding role to life through his musical diction and powerful voice. Unfortunately though, the musical only shows one-side of this character, making him another villain of Thai classical music.

Like many contemporary Thai-styled musicals over the past 15 years, the lyrics in this production aim more at recounting the state of characters' emotions and their reflection towards the situation, with few numbers that really move the plot and the pace of the show along.

There are a few songs, including the theme song, the reprise and one number featuring an analogy that Thai classical music instruments are family members, that are meaningfully composed though.

While the musical intends to concentrate on dramatic parts over musical bits, audiences do not seem to mind such sensational joyrides with spices of constant comic relief every five to 10 minutes. The jocularity escorts Thai tastes and seasons the show throughout.

Ironically, while it aims to rekindle audiences to the lofty spirit of Thai classical music as suggested by its tagline— "Rai Rak Rai Pandin" (Without Roots, Without Nation) — the orchestration mainly uses popular sounds in accordance with the Western musical theatre tradition. This hybridisation of Thai-Western traditions is reflected in the title itself, Hom Rong The Musical.

Actor-cum-director Teerawat Anuvatudom, aka Sang, noted for his comic roles on television, showed his directorial skills, which were generally much more developed than his previous, mediocre production The Legend Of Rae Kai Fun The Musical in 2009, which will make a comeback soon at K-Bank Siam Pic-Ganesha. This will serve as the proper opening for the inauguration of this 1,060-seater auditorium, a collaboration between Kasikorn Bank and Workpoint Entertainment, a television production company whose signature is to promote Thainess and identity in their television shows.

While it is still a mystery as to why the two Silpathorn national artists Pradit Prasatthong and Chaiyoot Tosanga are no longer with the show, Hom Rong The Musical still mesmerises and entertains theatregoers with the skilled cast and nostalgic storytelling.

Hom Rong The Musical