She’s often known as wicked Empress Dowager Cixi; the iron-fisted ruler of China from the late 19th century. Most Thais are familiar with her from the historical novel Susi Thai Hao penned by MR Kukrit Pramoj, which details the adventurous life of the woman who once spread her fearsome wings all around China.
HRH Princess Soamsawali honours the musical by playing Niuhulu, who left Hunan province with her daughters, Cixi the future Empress Dowager (Kanda Witthayanuparpyuenyong) and Wanzhen (Haruthai Angkasingha), for a better life in Beijing.
How accurate the portrayal is not as important as how powerful Susi Thai Hao is as a drama of loyalty and betrayal. Next Friday, the story of Cixi Taihou becomes, for the first time, a Thai musical; featuring brand-new songs and a cast of fine actors, including an appearance by Her Royal Highness Princess Soamsawali.
Besides the fantastic sets of ancient palaces and the Forbidden City, Cixi Taihou The Musical, The Dominance Of The Soaring Phoenix’s most anticipated offering will be the songs. The task of composing and lyric-writing fell to Suruj Tipakora Seni, who admits that it was the most challenging assignment of his career so far.
In an attempt at getting a better grasp on who Cixi was as a person, the singer-songwriter read several history books and biographies, as well as MR Kukrit’s novel again and again. Suruj said that he found, almost without exception, that Cixi’s portrayal was of a stern and power-hungry empress.
“History books and documentaries may not provide a complete picture of Cixi, who mustn’t have been a totally bad person, otherwise she wouldn’t have remained on the throne for 47 years. There must be good sides of her that we may not know of,” said Suruj.
“We shouldn’t only judge whether what she did was right or wrong, but also question why. Then we can understand the reason behind her actions, which may have been the best thing to do in those particular circumstances.’’
Thai audiences are familiar with Empress Dowager Cixi not only by reputation, but also from countless Chinese TV series. The story of a female ruler and her complex relationship with her eunuch is one that still captivates and resonates through the centuries. The Thai musical picks up on Cixi’s story shortly after her father’s death, when, as a 14-year old commoner from Hunan province, she moved with her mother and sister to Beijing. Shortly after, she became an imperial concubine and later China’s most notorious ruler.
Composer Suruj Tipakora Seni also appears in the musical as the head eunuch, Li Lianying.
“Cixi is a household name in Thailand, and people have read about her or watched documentaries, or TV series and movies about her,” Suruj noted. “They may be curious about what is chosen to be featured in this theatre production, which captures her long life within three hours.”
He added that readers of MR Kukrit’s colourful piece of fiction may be disappointed if the musical doesn’t paint the exact same picture as the one they had imagined from reading — an inevitable risk, he admits, whenever a piece of fiction makes the leap from book, to movie or to the stage, or vice versa.
Suruj’s musical interpretation of the novel focuses on Cixi’s emotional journey as she faces situations and struggles along the various stages of her life. The empress, in the show that starts next Friday at M Theatre, will be portrayed by Kanda Witthayanuparpyuenyong. The role of Cixi’s mother, Niuhulu, will be played by HRH Princess Soamsawali, who will also perform three songs. Another key character is Cixi’s devoted eunuch, named Li Lianying, which will be depicted by Suruj himself.
“He worships Cixi, does everything for her, and looks after her till the very last day and moment of her life. Li Lianying provides an example of the desire and love of a human being, and how far one can go to reciprocate these feelings,’’ he said.
Scenes at the Forbidden City’s throne hall are the highlight of the musical, according to director Kriengsak Silakong, who’s overseeing the production team working on majestic sets and Chinese costumes from the Qing dynasty era. Thorough research was also conducted on Chinese traditional practices in order to accurately present the grandeur of Cixi’s court.
In 2012, Kriengsak and Suruj worked together on Reya The Musical, a theatrical take on a hugely popular and controversial TV soap opera about a husband-stealing protagonist. Production of that musical showed how the two artists can adapt contemporary content into a new form. With Cixi Taihou, The Musical, Kriengsak notes, despite the period setting and the historical gravity of the story, it also has elements of melodrama like Reya. The key to the entertainment here, however, is the delivery of songs and their “emotional punches”.
“Whether it’s the Phantom Of The Opera, Les Miserables or Evita; no matter how serious the story, the audience always leaves the theatre feeling ‘full’ from listening to beautiful music,” said Kriengsak.
“Likewise, in the production of Cixi Taihou The Musical, we have focused on quality singing, which was a priority in casting actors.”
Previously starring as Kim in the Thai version of Miss Saigon, Kanda Witthayanuparpyuenyong has landed the demanding role of Cixi, in which she appears in almost every scene. She was initially cast as another character before Kriengsak saw her powerful “phoenix” potential.
“Kanda has to fulfil the role of a powerful woman in a man’s world, which was of an even greater disparity at that point of time in China’s history,” said the director. “The audience will not only see the clever and tough sides of the empress though; Kanda will reveal a playful and sexy Cixi, and someone who had quite a sense of humour.’’
Another Miss Saigon star, Suveera Boonrod (better known as Q, the lead singer of the band Flure) portrays Emperor Xianfeng, while Pudit KhunChanasongkhram plays General Jung Lu. Her romance with these two men, the latter before her entering the palace, showcases the sweeter and more seductive side of Cixi.
“Romance is one element of the musical that mixes with the others for the right recipe that hopefully appeals to the audience,” said Kriengsak. “It’s like cooking a big pot of tom yum; you just have to get all the flavours right.’’
