The rise in the number of expat residents in and around Bangkok in recent years has seen a significant rise in English-speaking theatre companies and |even a few Thai companies are now targeting this audience group with English-language productions. Bangkok Community Theatre (BCT) is the granddaddy of them all and remains the most prolific.
Last weekend, families enjoyed plenty of laughs with BCT’s new British pantomime production of “Aladdin” at M Theatre and there are five more chances to catch it this weekend.
But first a clarification about what pantomime really means, courtesy of director Ian Robinson.
“The first point to make is that it has nothing to do with ‘mime,” he says. “Pantomimes are packed with fun – songs, jokes, dancing, hammy acting and audience participation. You can even cheer your heroes and boo the villains.”
“Pantomime has been performed for generations in the UK. In fact the first performance of ‘Aladdin’ can be traced back to the Theatre Royal in Covent Garden in London in 1788. Generations of British children will remember with great delight their first trip to a pantomime – the start of a lifelong love of the theatre – and when those children grow up to become parents themselves, it’s regarded as an act of parental neglect not to take your own children to the ‘panto’. That’s how the tradition continues.
“Most famous British actors will tell you that they were drawn to the theatre and acting as a child after watching a pantomime performance.”
As for the history of British pantomime In Bangkok, Robinson says, “The BCT has performed them on many occasions over the years. It’s not an annual event because of the difficulties sometimes in finding directors and venues, but Bangkok always seems to enjoy this very strange and eccentric British fun, a Christmas box of delights. Pantomime has something for everyone, you don’t have to be British to enjoy it. Many Thais and expats of many nationalities have been introduced to the wonderful world of pantomime here in Bangkok and have gone on to become great fans.”
BCT’s pantomime production of “Cinderella” last year was a big hit.
“The most popular pantomime story [of all time] is ‘Cinderella’ and ‘Aladdin’ runs a close second so it’s a natural choice. Our production is set in China so this gives lots of opportunities for wonderful, colourful and glittering costumes and backdrops.”
And in comparison to the Disney version of “Aladdin” with most of us are familiar, Robinson says, “The original story in “The Book of One Thousand and One Nights” itself is ambiguous about its setting. There are some references to a Chinese setting but there are also references consistent with an Arabian setting. In the British pantomime version, which we’re using, the setting has usually been Chinese. You’ll meet all the usual pantomime characters, including ‘The Dame’, known as Widow Twankey.”
Robinson notes that a traditional British pantomime will always “localise” its script and his production is no exception. However, he’s not revealing any secrets here, saying, “Just come and find out which famous local landmarks are visited by our heroes and villains.”
Cast members come from the UK, USA, Sri Lanka, Thailand and the Philippines,
“Aladdin is performed by Ricardo Hizon and the Princess by Leela Saeng, both popular local singers. Ricardo trained at the National Institute of Dramatic Art in Australia and Leela at Tring Park School for Performing Arts in the UK.
“No British style pantomime would be complete without a traditional panto ‘Dame’, who is always played by a man. This year Michael Allman is stepping into the ‘frock’ part. Michael is an experienced performer and has been immersed in theatre at all levels over the years. However, this is Michael’s first time playing the Dame. In this traditional role, Michael is walking in the footsteps of some of the giants of the British stage. He was heard saying, ‘If it’s good enough for Sir Ian McKellen, it’s good enough for me!’”
Finally, the director guarantees, “British pantomime is fun for all the family. It is, primarily, a show for children, but there’s much that mums and dads will enjoy too. ‘Panto’ works best when the whole family come along and it’s a great pre-Christmas activity for everyone. Mums and dads, we guarantee that your children will talk about the panto for months, if not years, and you’ll be glad you were there to share this delightful experience.”

PLENTY OF LUGHS
– BCT’s “Aladdin” continues at M Theatre, New Phetchaburi road between Ekamai and Thonglor, Friday 7.30pm; Saturday 2.30pm and 7.30pm; and Sunday at 1.30pm and 6pm.
– Tickets are Bt 950 and Bt750 for children, Saturday and Sunday matinees only), available at http://www.BangkokCommunityTheatre.com/tickets, and (081) 741 0703.

Collectible coins, minted to commemorate milestones in the life of His Majesty the late King Bhumibol, have been elaborately adorned with jewellery for the exhibition “Forever in Our Hearts, Forever Our King: Commemorative Coins in the Reign of King Rama IX”.
The show, featuring the augmenting talents of leading Thai jewellery designers, opens on Wednesday at the Emporium mall in Bangkok.
Among the highlights is an elegant brooch from Blue River given the name “Por”, bearing the Thai script for the word “sufficient” in diamonds and other gemstones. They surround a coin of pure gold commemorating the late King’s 80th birthday.
Jewellery brand Forever Peace by Chuchai has contributed “Phra Barami Pok Klao” (“With Full Protection”), a hanging brooch crafted from diamonds totalling 5.95 carats. Its base is a 1996 gold coin commissioned by the Royal Police Cadet Academy to celebrate the King’s golden jubilee on the throne.
Jasmin’s “Golden Ears of Rice-Locket Pendant” is a cleverly designed two-way gold locket-pendant with the No 9 (signifying the ninth monarch of the Chakri Dynasty) and ears of rice stencilled on the surface. Inside is a lovely gold coin created for His Majesty’s 88th birthday at the Royal Canadian Mint.
Prima Gems offers two pieces. Borrowing the title of a famous song dedicated to the King, “The Father’s Tree” is a 47.48-gram white-gold brooch shaped like tree branches, decorated with 3.53 carats of white diamonds and 2.53 carats of yellow diamonds.
The intent was to pay tribute to His Majesty’s Royal Projects, and in particularly forest rehabilitation and development.
His experiments in artificially creating much-needed rain for periods of drought inspired the brooch “Tharn Thara”, in which rainfall is illustrated in the shape of the No 9. It comprises 64.38 grams of white gold, 1.16 carats of diamonds at the head of the numeral, and 11.49 carats of surrounding diamonds.
Another brand, Sincere Jewelry, took its cues from His Majesty’s memorable speech about working towards specific goals.
The “Soul |of the Nation” brooch is intended to show the people’s eternal gratitude to their beloved late monarch. At the centre is the silver Benja Maha Mongkon silver coin commemorating the King’s 72nd birthday. It’s adorned with white gold and rare crystal-clear diamonds.
The participating jewellers all have stores at the Emporium and EmQuartier, which have jointly organised the exhibition.
Also on view in the “Coinage Gallery” will be rare and precious |commemorative coins collected by celebrities MR Srikhumrung Yukol, ML Panadda Diskul, ML Piyapat Bhirombhakdi, Grace Mahadum-rongkul and Tipanan Krairiksh Srifeungfung. In many cases they received the coins from members of the royal family.
HEAR THE COLLECTORS
– The exhibition is open through December 14 at the Emporium Gallery on M Floor.
– Coin collectors including some well-known names will be at the exhibition’s opening on Wednesday at 6.30pm to talk about their shared interest.

Thais have traditionally celebrated December 5, His Majesty the late King Bhumibol Adulyadej’s birthday and also national Father’s Day. Less known perhaps is that today also marks World Soil Day, a Thai initiative that was unanimously endorsed in June 2013 by the 68th UN General Assembly.
It too is cause for celebration as during the 70 years of his reign, King Rama IX designed thousands of development projects to improve the living conditions of his people, often using the grounds of his palaces as experimental plots.
His interest in development manifested itself when he was just a small child living at Srapathum Palace in Bangkok with the Queen Grandmother, Queen Savang Vadhana.
Take, for example, his Monkey Cheeks project to store water for irrigation. The late King always credited the monkeys raised at Srapathum Palace for his inspiration, saying he was fascinated as a child at how the monkeys would chew bananas then keep the pulp in their mouths for later.
That memory and other others will soon be on display in a new exhibition being organised by the Queen Savang Vadhana Foundation at its Phra Tamnak Yai museum inside Srapathum Palace. Titled “Our Beloved Great King”, it aims to express gratitude to the late monarch and will be open for public viewing from December 19 to the end of March.
Before that, though, the foundation has joined hands with Siam Piwat and Siam Paragon Development to hold “Our Beloved Great King” in the Lifestyle Hall on Siam Paragon’s second floor. The exhibition runs from today until December 18.
It brings together photographs and personal items that portray the late King’s royal duties as well as his happy childhood inside the vast compound of Srapathum Palace.
“Queen Savang Vadhana Museum is open to the public and serves as a resource centre for further studies of the royal activities and Thai history. In line with the royal initiative of Her Royal Highness Princess Maha Chakri Sirindhorn, we would like to introduce a glimpse of the exhibition that is taking place at Queen Savang Vadhana Museum to visitors at Siam Paragon,” says the Foundation’s secretary-general Chawalee Amatyakul.
“This will allow both Thais and foreigners to learn more about our history and the profound benevolence of the late Monarch toward his subjects. His perseverance and demeanour throughout the past 70 years of the reign is truly a great example of a Dhammaraja, or the king of righteousness.”
The exhibition comprises four parts.
Part I, “First Royal Residence”, narrates the late King’s biography and noble demeanour at Srapathum Palace’s Phra Tamnak Mai (New Mansion) where he lived as a child 1928-1933. The palace is today the residence of Princess Sirindhorn.
“This part of the exhibition is devoted to the great affection between the late King, the Queen Grandmother, the Princess Mother, King Ananda Mahidol, and HRH Princess Galyani Vadhana. His Majesty once said that he learnt much about the Kingdom from the Queen Grandmother. In the past, when he resided in Bangkok, he would visit her every day. The highlights are the baby cart which belonged to His Majesty, and the Chinese rickshaw known as ‘Jek-tu’ that the Queen Grandmother would use for her niece and nephews to look and shop,” Chavalee says.
More than seven years were spent preparing the museum for its opening in 2008. “There are so many memories here. Princess Sirindhorn told us that she once asked His Majesty about what he remembered from his childhood and the late King said he remembered making his own toy carts from chopped wood. And when Their Majesties the King and Queen together with Thanpuying Dhasanawalaya Ratanakul Serireongrit, Princess Galyani Vadhana’s daughter, visited the museum on April 27, 2012, Princess Sirindhorn asked His Majesty if he was pleased with the museum and he said ‘yes’. Their Majesties visited the museum just one day before their wedding anniversary, which was held at Srapathum Palace on April 28, 1950. Queen Savang Vadhana bestowed her formal blessings on the royal couple. Gratitude is considered a most auspicious value,” Chavalee says. “So visitors must not miss the chance to visit the Palace museum.”
Part II of the exhibition features “Royal Activities” and is dedicated to the late King’s lifelong works for the benefits of the Thai people and global citizens.
Part III, “Worldwide Praise” depicts the deep-felt appreciation of all Thais nationwide as well as the global community. A number of official condolences offered by heads of states are also on display here along with the national and international awards and decorations His Majesty received during his lifetime. These include awards recognising the late Monarch’s King’s numerous royal projects and his unwavering commitment to improving the lives of his people, such as the United Nations Development Programme’s first-ever Human Development Lifetime Achievement Award.
Part IV, “Royal Guidance” brings together His Majesty’s royal remarks and teachings on several auspicious occasions.
The Queen Savang Vadhana Foundation will also distribute 9,999 postcards with priceless portraits of His Majesty at the exhibition. The backs of the cards are printed with the late King’s words of wisdom.
In appreciation
– “Our Beloved Great King” runs at Siam Paragon’s Lifestyle Hall from today until December 18.
– It will then be on show at the Phra Tamnak Yai museum inside Srapathum Palace until the end of March.
– The museum is open daily except Sundays and visits can be made by appointment. Admission is Bt150 per person and Bt50 for students.
– For more information, call the museum at (02) 252 1965-7 or visit http://www.QueenSavang.org and Facebook/Queen Savang Vadhana Museum

A memorable evening at a dance festival can also mean watching two new dance works, highly different, in two venues of the same theatre complex with two old friends and a good dinner and conversation in-between. That’s what happened to me one Saturday evening in autumn at the Theatre National Populaire (TNP), in Villeurbanne on the outskirts of Lyon, at the 17th edition of La Biennale de la danse where Rachid Ouramdane’s “Tordre” and Olivier Dubois’s “Auguri” were staged. Both were part of Institut Francaise’s “Focus Danse”, which brings together works selected for international producers and programmers.
In his latest work, whose title is literally “Twisted” but is replaced by “Wrought” in Anglophone venues, Ouramdane continued his research with two dancers he has worked with in the past: Lora Juodkaite and Annie Hanauer. The former has been practising gyration since her childhood and her spins now have plenty variations. The latter moves in such a way that, from a certain distance, the audience may not notice she has a prosthetic left lower arm. Accordingly, Sylvain Giraudeau created a set design that featured a semi-oval white dance floor and two black rods connected with poles, which could be spun around as well as moved up and down. Lighting designer Stephane Graillot painted this sparse canvas the dark shadows in various angles, all the better to frame the black-clad dancers.
Earlier in “Tordre”, Juodkaite and Hanauer performed extended solos, the former with some spoken monologues and the latter to Nina Simone’s “Feelings”, as if to not only introduce themselves but also share their inner thoughts. After embracing each other halfway into the work, their duets, frequently heartfelt, showed that the two women shared much in common with each other as well as with us, the audience.
Ouramdane is co-directing Le Centre Choreographique National de Grenoble with Yoann Bourgeois whose “Celui qui tombe” (“He Who Falls”) was seen at the previous biennale and has since been on tour to many countries. I predict the same for “Tordre”, a uniquely intimate and touching minimalistic work that results from the dancers as much as the choreographer and the designers.
Later the same evening, Dubois, artistic director of Ballet du Nord, offered the very opposite of intimacy as a whirlwind of movements and human thrust roamed another TNP stage in his “Auguri”, “Augury” or simply “Best wishes” in English.
To highly energetic electro symphony music by Francois Caffenne and Stephane Magnin, 22 dancers spent almost an hour jumping up and down the two square and two rectangular cubes, also designed by Dubois, running across the stage in different directions, carrying, chasing and even bumping into one another, before collapsing towards the end. This was exactly as Dubois noted in his statement, “To soar, no longer touching the ground. Flying like a bird, an omen for myself,” and finally “He sleeps”.
Watching this choreographed chaos, the audience was invited to an ancient Greek practice of ornithomancy, reading the future of mankind from the movements of these birds. It’s filled with jubilation but at the same time a glimpse of a more morbid future.

For more on other works by
Ouramdane and Dubois, visit http://www.CCN2.fr and http://www.BalletDuNord.fr.
The writer’s trip was supported by the Biennale de la danse’s press office and the French Embassy in Thailand.

IN RECENT YEARS, the northern province of Nan has been drawing tourists yearning for beautiful nature, a slow pace of life and cultural conservation. Unlike other areas, however, the province has not been spoilt by the high volume of tourists but has retained its charms, for which the credit must go to the strong community networks and local administrative organisations.
The public organisation Designated Areas for Sustainable Tourism Administration – Dasta for short – has been so impressed by Nan’s rich and strong culture that it has selected the province for a project called Nan Ner Chao (“It’s Nan”). Under the scheme, Nan’s distinctive textiles are being developed to meet the needs of changing lifestyles while highlighting the value of the weaving culture.

The prototype of a woman’s dress developed with the dao lom duen motif.

The project, which started two years ago, is based on community participation and aims to drive development in response to the actual demand of people in the communities. Some 100 villagers from five sub-districts are now taking part in the project, each using its distinctive textile pattern to develop Nan Ner Chao as a premium brand targeting upper middle-class tourists.

Weavers of Baan Chiang Rai in Dotai subdistrict are known for their production of pla ta kong in classic chequered style.

“This is not a top-down policy, but a bottom-up approach. The aim is to support an area-based project with valuable cultural resources as an integrated development model with extended implementation for sustainable living,” says Chumpol Musiganont, managing director of Dasta’s Nan Old City. “The Nan Ner Chao brand is a pilot project of the cultural economy, which aims to preserve and promote cultural values while also combining culture, economy, and technology.”

Fisherman pants incorporate different patterns.

Designed and produced by several Nan fashion designers and entrepreneurs, the prototypes and packaging of Nan Ner Chao brand have now been launched. Based on the concept “building pride in people’s lives”, they include a hand-woven woman’s dresses, shirts and shorts for men, fisherman pants and scarves and are beautifully packaged in a well-designed hardboard box or an attractive bamboo cylinder.

The prototype of the Nan Ner Chao scarf with the pla ta kong pattern and packaged in a bamboo cylinder.

A man’s shirt with the distorted pattern of lai bo suak.

“According to our survey, most visitors to Nan are what we term quality tourists – mainly Thais– and they are willing to spend extra for premium products that underline Nan’s cultural identity rather than buy kitsch dolls, tasteless key rings and magnets, and T-shirts. A souvenir should be much more, a memento of places seen and experienced. The premium hand-weaving textile product that’s not just a piece of fabric or a tube skirt but a ready-to-wear item that incorporates the remarkable textile patterns of the communities with a contemporary design matches that need,” Chumpol says.

Chumpol Musiganont, managing director of Dasta’s Nan Old City.

Five distinctive textile patterns from five sub-districts have been selected to showcase Nan’s broad cultural identities. Weavers of Nai Wiang sub-district are noted for their capability to create the traditional pattern of lai nam lai yod nam, which combines flowing water with raindrop designs. The pattern signifies the province’s location in the Nan river valley surrounded by forested mountains.

lai nam lai yod nam

“Nan province has a long history dating back to the 13th century and the communities are made up of different ethnic groups,” says noted historian Assoc Prof Sunait Chutintaranond. “Set in a mountainous valley, the provincial capital has retained its cultural identities and the locals are keen to preserve their communities by focusing on quality tourists rather than a high volume of visitors. Local regulations have been issued to limit the height of buildings in municipal areas and preserve the landscape. Nan has the potential to promote its authenticity and cultural values without difficulty.”

lai bo suak

Bo Suak sub-district is an important archaeological site where the excavation of two ancient kilns led to the discovery of pottery dating back some 700 years. The Fine Arts Department has been conducting studies in this area since 1984 and has found that it was an important pottery production site in the Lanna kingdom. Its popularity was proved by the discoveries of Bo Suak ceramic debris in ancient burial grounds along the northern mountain ridges from Chiang Mai to Tak and Kamphaeng Phet provinces. Textile weavers of Baan Sao Luang in Bo Suak also borrow the distinctive epaulet-like motif found at the mouth of ancient jars for their textile pattern, which is known as lai bo suak.

Noted historian Sunait Chutintaranond calls for the communities’ participation in meeting actual demand.

“Over the last two years, Dasta has joined with the Thailand Textile Institute to develop stronger but softer yarn and textile dye colours that prevent colour bleeding and fading,” says Chumpol.
“Brainstorming sessions with representatives of the locals are regularly organised so that we are aware of what they want and can share ideas. The local designers also help to develop the products and local entrepreneurs are in charge of production process. We work closely with the Provincial Commerce Office to identify potential market channels and so far, several shops in the province have shown their interest.”
“The one tambon one product – Otop – scheme has not been successful here because there are no differences between products,” adds Sunait. “The cultural identity of each item is not highlighted as it should be and the price war is a disaster.”

lai dao lom duen

Villagers of Baan Na Pong Pattana are recognised for the intricate pattern of dao lom duen (moon surrounded by stars) while those living in Baan Chiang Rai of Dotai sub-district are known for their pla ta kong, a classic chequered style that is similar to pla khao ma or loincloth. The pla ta kong is usually used for making bedspreads and blankets but it being developed as a scarf by the Nan Ner Chao brand using delicate but durable cotton yarn.

maeng mum aom yum teen mee

pla ta kong

“Another pattern, maeng mum aom yum teen mee of Baan Nong Tao weavers in Muang Tued sub-district, has also been highlighted for the brand’s products. The design features spiders’ legs stretching in all directions and the locals believe this pattern is suitable for children and pregnant women as it will help protect them against dangerous things,” says Chumpol.
The full range of products is scheduled for launch in the second quarter of next year. For details, visit http://www.Dasta.or.th or call (02) 357 3580.