Damkerng Thitapiyasak first discovered his talent for theatre when he was in Grade 7. He wrote a school play that thoroughly entertained his audience, featuring fun characters which allowed his friends to show off their acting skills.
"I have fun putting my ideas into a theatrical show. Sometimes, I borrow storylines from best-selling novels and adapt them. It helps me open my mind and learn to understand other people," he said.
That talented young playwright is now a veteran stage director. And this year, his achievements in theatre were given official recognition when he was awarded the Silpathorn Award in performing arts. (The six other award winners were Natee Utarit in visual arts, Boonserm Premthada in architecture, Worapoj Panpong in literature, Singh Intrachooto in design, Anan Nakkong in music and Sayombhu Mukdeeprom in film.)
"Most Silpathorn Award winners play important roles in society. But I just want to express what I feel through my works. I want my audience to feel comfortable when watching a performance and take something back home," Damkerng said.
Shanghai Cinematic The Musical being performed during the Silpathorn Awards last month. photo: photographer
The award is a significant milestone in the director's long theatre career. For more than 30 years, Damkerng has been producing magic for the stage, with more than 50 satirical plays to his name, reflecting social issues and the rapid changes in urban life.
While Damkerng borrows freely from pre-existing content, his work always feels fresh and new. A famous example is his celebrated production, Shanghai The Cinematic Musical.
It was performed at Sala Chalerm-krung Royal Theatre in 2004. It was, in fact, an adaptation of the Willy Russel musical Blood Brothers. Damkerng turned it into a tragedy about a Chinese family and their faith in the Chinese horoscope.
"Plays have magical qualities. We might perform in a small theatre but it doesn't mean that our imagination has to be limited. Good storytelling techniques and stage props can carry the audience along, even though we don't have cameras to move the action everywhere, like in a film," he said.
Damkerng started life in theatre as an actor in 1986, taking classes with ML Bhandevanov Devakula. He went on to learn about lighting design, sound effects and, eventually, everything else about a stage production. He wrote the screenplays for popular TV dramas and films, such as La Tha Phee (Ghost Game), Khoo Kam, Sai Lohit and Chao Kam Nai Wen.
"Plays and musicals can't generate much income, like films and TV shows. But I love theatre because it gives us the freedom to present things the way we want," he said. "Because of censorship, there are many things we can't do in a movie. It's mass media, so we don't have the freedom to talk about politics or other sensitive issues. And the producers of TV shows are concerned about ratings."
Damkerng at a rehearsal for his latest show Push Up. Photos: PATTARAPONG CHATPATTARASILL
To keep his work fresh and relevant to his audience, Damkerng typically combines two or three sources to create a new plot that is easily accessible and relates to Thai culture. Nang Nak The Musical was partly inspired by Damkerng's comedy Bright Spirit, which tells the story of a dramatist who hires a shaman to communicate with a spirit and collect information for his new project. He ends up seeing the ghost of his wife, who died seven years before, and who wants him to be with her.
"Nang Nak The Musical is different from the original folk tale Mae Nak Phrakhanong. The audience don't see the ghost Nang Nak sitting by the river, waiting for her husband coming back home. But the major point is still about love and attachment," he said. "Commentators often criticise my interpretations. I understand that but this is dramatic licence. I don't cling to the original.
"At the heart of making a stage show is the idea that the story needs to be fun but still logical. I love to mix a variety of outlines to create a new plot. I want the performers and audience members to feel active all the time. You won't see a performer fall into deep emotion in one of my shows."
Damkerng's latest show is Push Up, a rerun of his 2007 production, featuring the original cast. It runs until Oct 8, at Saeng Arun Art and Culture Centre on Sathon Nua Road. Push Up is an adaptation from German playwright Roland Schimmelpfennig's original. In Damkerng's version, the story centres on three pairs of university lecturers, reflecting relationships in a workplace and the educational system under the Thailand 4.0 national policy.
"[Modern] audiences are more experienced, having travelled abroad to see different shows. This is a good opportunity to improve the standard of our performances. Now, musical actors need to be able to sing on their own. Performers must have good skills and be eager to learn new things," he said.
