Intra- and inter-cultural Phra Lor
19 June 2009
Bangkok, Thailand

By Pawit Mahasarinand

A new intra- and inter-cultural theatre production retells “Phra Lor” like never before.

Patravadi “Kru Lek” Mejudhon was inspired by the sound of violin to bring the half-millennia-old literature “Lilit Phra Lor” back to stage.

“I listened to Vie Trio perform at [Ratchaburi’s] Chet Samien [All About Arts festival] and their music made me feel like they’re Phra Lor, Phra Puen, and Phra Paeng. Plus, the Laotian songs in ‘Lilit Phra Lor’ would have been wonderful on violin. Paey wants to perform in this production, but then his travel and work schedule made it impossible.”

Kru Lek continues, “Soon afterwards, American violinist Kyle Dillingham spent a night at our theatre. In the middle of the night, he performed for me. It’s amazing, very powerful and with such a variation. I’d never heard anything like that from any Thai violinist. So, we agreed to have an American ‘Phra Lor’, with the mask. And the US Embassy is generous to give support to his residency and performance here.”

“Music was composed by Anant Nakkhong and Anotai Nitiphon, and we’ll have live performance of a violin, a cello, a piano, a Sor, and various percussions. Plus, we’ll also have both traditional Thai and western opera singing styles.”

Apart from the intercultural tunes, it’s the beauty of the language in this  literature from early Ayutthauya period itself that has impressed Kru Lek. Yet, she finds that reciting “Lilit Phra Lor” as poetry can sometimes be boring; speaking it out as a common conversation is never.

“I want to promote the beauty of Thai language, by using our literature, which is, unfortunately, now eschewed by many teenagers. And so the original language will be kept intact.”

Written and directed by, and co-starring Kru Lek, “Ror Rak Lor Lilit Lilit Phra Lor” is presented as a play-with-in-a-play, as she wants to prove how relevant this ancient literature is to today’s society. 

Sarawut Martthong, fresh off his monkhood, portrays the role of the play’s director. Joining his production, a young woman, played by Lanna Cummings, has a crush on him. This is a parallel story to the traditional one of Phra Lor, Phra Puen, and Phra Paeng.

“Both Sarawut and Lanna can move beautifully, but they cannot do the Northern Thai style dance perfectly, so we have a group of Thai dancers [members of Patravadi Theatre] to take care of that. The choreography is by Manop Meejamrat [Silpathorn Award artist]. It’s in another world, the traditional dimension, of the production anyway.”

“And so we have three Phra Lors—the musician, the actor, and the dancer.”

Kru Lek guarantees that it’s easy to watch and entertaining throughout. As always, she also has an important message to say in her production.

“Phra Puen and Phra Paeng died out of shame, not of love. Today’s people, especially the younger ones, seem to forget about shame. Before doing anything, they should think twice whether it’s good and appropriate.”

After 10-day 15-performance run in Bangkok, the production will travel to the US, thanks to the full support of, again, the US Embassy in Thailand.