Boy O’ Mine เด็กน้อยของฉัน (2017)

M Theatre, 29 July, 2017

Directed by Nikorn Saetang.

Sometimes the joy of watching theatrical piece lies in the close ties between the actors, director, stage crew and the audience. There’s special power going back and forth between the seats and the stage. It’s like successful communication when both the sender and receiver knows the exact meaning meant to be conveyed.

After the play, P’ Blahboom, one of the main actors (who played 6 characters, if I am not mistaken) came to talk to me and my friends and said that this was a nice round since the audiences were his professors, friends, and juniors at uni. The audiences in the other rounds didn’t dare laugh at the controversial jokes, but since it’s something people at the Faculty of Arts are used to, the blackbox bursted with laughter.

The notes I typed down on my phone right after the play were: Edible Woman, Economics and religion.

Now to elaborate on these three words…

The plot is about a lesbian couple who lives with their gay best friend. One of the girls, Chan, surprisingly get pregnant without having sex.

The play starts with a little lecture by a TV host on an animal documentary; questioning whether the human species are evolving for survival. His question was lead by examples of sharks giving birth without having sex, clown fishes turning into male when there isn’t one to reproduce, but it’s only the human race that requires a sperm and an egg to give birth.

During the play, each character took turns in giving monologues on economics or religion, mainly on the story of Rahung, Buddha’s son.

But the scene that made me think of The Edible Woman was when Chan couldn’t stand food that reminded her of blood. After that scene, her girlfriend gave a monologue on stock rates being all red. — the parallel between society, economics, and humans was very TEW to me.

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