Self-study and classroom lessons based on newspaper feature stories

This column is for self-study or classroom use and gives guided help with reading the wide variety of writing styles and topics that appear as feature articles in the Bangkok Post. The lessons include background information, skill-building practice and vocabulary explanations.

September 30, 2003

Of shows and stars

INTRODUCTION

Today, feature focus comes to you in two parts. The first is an excerpt from a story about a classic Thai novel that has been made into a musical performance. The second is about one of the stars of that show. The story, Ku Kam, was written in the 1960s by Thai novelist, Tanayanti.

Her story has been popular since it was first written. That is partly because the story is about two of the most emotional and human themes – love and war. The original story has been entertaining people for more than forty years in several different types of performance.
Getting the basics

Quickly scan through the story to find the following information:

Today’s story is about the making of a musical. What other kinds of performance have been made from the novel?

Who is the director of the new musical?

What other kinds of performance has she directed in the past?

Who are the two stars of the musical? What are their names in the story?

How many other performers will there be in the show?

How long is the performance and how many songs are there?
Comparing genres

You have, of course, seen movies and TV drama; have you ever been in a play or other live performance? What happens if something goes wrong on stage? What can you do with film that is different from a live performance?

How is the scene – the place where the story takes place – created for a film or movie? What about on stage, how is the scene created there?

As you read, you will learn about other differences and some of the challenges faced by the director of the musical. What techniques have been used in the film (cinema) and television versions of Ku Kam? What techniques work for a play or musical on stage? What problems did this director have in telling the Ku Kam story in music?

FOLLOW-UP

The writer tells us that Ku Kam is the Eastern version of Gone With The Wind. Use whatever research resources you have – your library, the Internet, a person who knows about movies – to find out about that famous Hollywood movie made in 1939. How could Ku Kam be seen as an Eastern version of that movie? What are the similarities in the story and the characters?

OUR STORY FROM THE BANGKOK POST

Classic tale takes on show tunes

The beloved `Ku Kam' returns
to the stage as a musical next month

Story by ALONGKORN PARIVUDHIPHONGS

Seigi Ozeki and Teeranai Na Nongkai

SOME VOCABULARY HELP

immortal
famous and likely to be remembered forever

dubbed
given a particular name or label

headstrong
of people who are determined to do things their own way, refusing to listen to advice

backdrop
the general conditions in which an event takes place

star-crossed
not able to be happy because of bad luck or fate

conceptualise
to form an idea of something

jump cut
an immediate transition from one scene to another

flashback
a part of a movie or story that shows what happened earlier than the main story

concise
using few words well

stagecraft
skill in creating scenes in a play

script
a written text of a play or movie

complication
a thing that makes a situation more difficult

parallel
very similar or taking place at the same time

intensification
the gradual increase in strength or emotion

climax
the most exciting part of a story or play, usually near the end

‘The war will continue, but the war in her heart has already ended.” That's the message at the ending of the classic novel Ku Kam written by Tamayanti in the 1960s. It still echoes loud and clear in the hearts of those who have lost their loved ones on the battlefield.

“We still see many tear-stained faces from the US-Iraq war. I believe it's love, not war, that makes peace,” said Tamayanti at a press conference.

Her immortal story will be brought to life again for 24 shows over the next two months at the Bangkok Playhouse.

Dubbed as the Eastern version of Gone With The Wind, Ku Kam is a tragic romance between a Japanese soldier named Kobori and a headstrong Thai woman, Angsumalin. It is set to the backdrop of World War Two.

During the past four decades, the classic tale of star-crossed lovers has been made into four films, two drama series and several theatrical productions. RS Promotion is making a TV series out of it, starring teen heartthrobs Sornram Thepitak and Pornchita Na Songkla.

But this is the first-ever musical version of the unforgettable romance.

“I've always wanted to stage Ku Kam, but TV channels always get the copyright,” said noted director Suwandee Jakraworavut of Dream Box (formerly Dass Entertainment).

Working for the River of Kings light and sound project two years ago, she came across the novelist who helped conceptualise the storyline for the project.

“I rushed to her to discuss a theatrical project of Ku Kam,” said Suwandee. “She suggested that I direct another fantasy-drama such as Nai Fun (In the Dream) or Leud Kattiya (Royal Blood).

“But I insisted on Ku Kam because it is a more well-known story and relates more to ordinary people [than the other stories].

“She said she would see what she could do,” said Suwandee excitedly. The novelist kept her promise and finally gave Dream Box the green light.

But why a musical?

“I'm a nut, maybe,” the director joked. “I've been doing many comedies, dramas and other variations on musical shows. But have never done a singing musical like this.”

The 150-minute musical will feature 45 songs and new faces such as top Japanese model Seigi Ozeki as Kobori, and singer Teeranai Na Nongkai as Angsumalin in the lead roles. A mix of 10 professionals and 50 amateurs will also perform.

While cinematic techniques allow jump cuts and flashbacks to tell the long story in a concise manner, the theatrical version relies on stagecraft and a well-planned script. This musical version attempts to be a faithful adaptation of the classic novel by showing the complications of the tragic romance in a parallel fashion to the intensification of the war.

But it is not without problems.

Because each scene is interrelated, leading to another important incident and then the climax, it is not an easy to chop out any scene. “We have to maintain certain scenes that audiences expect to see. We have worked hard on the wording, too. Word choice is the beauty of the novel,” said Suwandee.

“It's an effort to bring a quality original show to local audiences. I hope they will enjoying seeing a new flavour of their old classical favourite,” said Suwandee.

A challenging role

The second part of this feature focus is based on a short story about the male star of the Ku Kam musical.

Seigi Ozeki had a tough job to do. He is Japanese, he is the star in a Thai musical, but he doesn’t speak Thai. His character is Japanese, but his lover in the story is Thai. He was able to meet these challenges because of certain qualities. Some of them are listed below.

As you read the story, find quotes or ideas that illustrate each quality. Use a separate sheet of paper and write the ideas briefly in your own words next to each quality.

the right look:

willingness to try:

sense of humour:

talent:

determination:

Would you like to read about Seigi Ozeki’s Thai co-star in the musical? You can read her story along with more about Ozeki at http://www.bangkokpost.com/en/Outlook/24Sep2003_out03.html

SEIGI OZEKI
Model-turned-actor, 29, as Kobori

fake (v)
to make something false appear to be genuine

credentials
qualities, training or experience that make you suitable to do something

indie
of music or films produced by small independent companies

alluring
attractive and exciting in a mysterious way

audition
a short performance by a performer trying for a role

pitiful
causing you to feel sorry

constraint
a thing that limits or restricts

In this new musical version, audiences don't have to listen to Thai actors faking Japanese accents. The production has a top Japanese model, Seigi Ozeki, starring as Kobori.

His credentials include two indie films, Dump Star and Embrace, both of which helped him uncover his acting talent.

But he is totally new to theatre, not to mention musicals.

“I just watched two musicals, Peter Pan and Chicago, in Tokyo this year. The shows were so powerful and alluring that I wished I could be a part of them,” he said excitedly.

Luck fell into his hands when he was asked to send a demo of his singing to a theatre troupe in Bangkok. Three months ago he received a surprise call for an audition in Bangkok.

“But it was not a normal audition. Instead of three-day visit, I ended up training with the director for seven more days,” he recalled chuckling.

The director praises Ozeki's talents.

“First he is Japanese. And he can sing. But what impressed me most was his gleaming yet pitiful facial expressions. He perfectly fits the character of Kobori,” said Suwandee.

But time constraints and Ozeki's lack of Thai proficiency posed problems. Basically, Ozeki knew only Thai catchphrases.

After the audition, he went back to Japan with Karaoke-style songbooks and guided tapes to practise singing in Thai.

“I thought he would never come back after those seven days of hard work,” recalled the director with a smile.

But, a man of his word, Ozeki returned last month for the production. And he surprised the team with his fluency in Thai lyrics and quite clear pronunciation.

“In Japan, I practised every day after work and even on the train,” he said proudly. “But I still could not speak Thai. I can only sing for this show,” he said laughing.

• This lesson was prepared by Maureen Paetkau, a professional teacher of English as a second and foreign language and Assistant Manager and Webmaster for Learning Post at the Bangkok Post.

Read our other feature focus columns here.

Return to our home page.

| Comments to Maureen at