Empress dowager takes a bow
The acclaimed 'Cixi Taihou: The Musical' has lost a few steps in its restaging
When the Musical Society of Bangkok’s “Cixi Taihou: The Musical” premiered at M Theatre last April, it was well received by audiences and critics – the latter even listing it for the annual IATC Thailand Awards in both best book of a musical and best musical categories.
Earlier this month, the restage – it can’t be called a revival because it’s too similar to the original production – opened at the new Suryadhep Music Sala at Rangsit University. The fact that this venue is in Pathum Thani, meaning that most audience members would reach home well after midnight, didn’t prevent the same type of hype as for the original production. Of course, that’s mainly due to the unforgettable presence of Her Royal Highness Princess Somsawali as Cixi Taihou’s mother, this time with an additional song.
Many main cast members were new and those who watched the original production would probably agree that Kanda Witthayanuparpyuenyong, who played the lead role last year, was more credible than Kanyapas “Parn Vietrio” Srinarong in this new production, not only in her rags-to-riches rise but also in her gradual changes as the years passed. Both are, of course, superb singers. But the three male singers cast as different emperors were not as strong in characterisation and stage presence as those in the original production and that made it easier, and less convincing for the audience, for the swan to rise over these dragons.
Suruj Tipakoraseni reprised his role of Cixi Taihou’s head eunuch Li Lianying, who knew all, and kept tight, the secrets behind her throne. And it’s actually this character, rather than Cixi, who carried the show until the final notes. In the process the significance of other major characters like Cian, who shared the throne with Cixi, was diminished. Suruj seemed to stick with the script and ad-libbed less in this restage and the audience wished he, like Kanyapas, could have shown more changes in character as the plot progressed from one decade to another and one political problem to another.
Meanwhile, the new character of An Te Hai, performed by Kriengsak “Victor” Silakong, had such a minimal role that one has to wonder if it was really necessary, as it only made the play even lengthier. Victor, instead, deserves credit as the director, sustaining the good pace and dramatic quality of the show even though, like in most musicals here, we already know what will happen next in this too familiar plot.
While the new venue offered a good sightline from all seats and its acoustics did justice to the prowess of the orchestra comprised mainly of Rangsit University’s music students and the voices of the actors, the scene change mechanics were slower than the State Railway of Thailand’s trains. Apparently, the production team solved this problem by starting the scene change early but that meant the audience knew when the scene was going to change before they should have. When the show transfers to Muangthai Rachadalai Theatre later this month, this should no longer be a problem.
The highlight of “Cixi Taihou: The Musical” remains its music and lyrics, which rightfully serve the drama, and have musical fans waiting for the next stage work by Suruj. But for now, the cast recording, by the new cast members, is available on double CDs, at a price double those of its Broadway counterparts.
CURTAINS COME DOWN
“Cixi Taihou: The Musical” moves to the Muangthai Rachadalai Theatre for its two final shows, at 7.30pm on May 30 (already sold out) and May 31 (selling fast).
“Cixi Tickets are Bt1,000 to Bt5,000 at ThaiTicketMajor.
“CixiFor details, check www.Facebook.com/CixiTheMusical.
