'PEEL THE LIMELIGHT', Spearheading a Renaissance of English Language Theatre in Bangkok

We appear to be experiencing something of a renaissance in the English language theatre being produced here in Bangkok. I was fortunate enough to catch a production of Paula Vogel's How I Learned to Drive by "Peel the Limelight" theatre company. The cast and crew are superb.

As we sat in the intimate space, I couldn't help thinking of Andre Fougerons's iconic painting 'Atlantic Civilization'. Allow me to explain; the car is central to understanding the 20^th century. Thanks to the revolutionary reforms implemented by such bombastic industrialists as the legendary anti-Semite, and all round mentalist, Henry Ford, the car is the core around which all economic, political and social spheres orbit. From the compartmentalization of our perception of time into 'work time' and 'leisure time', to the global reliance on mass production; the car has transcended being a mere status symbol and now it permeates every aspect of western cultural discourse. It is the elephant in the room that is ever present, but few dare to critique.

'Atlantic Civilization' by Andre Fougeron 1953. obtained from Tate.org.uk

Back to the performance, for those who are not aware, How I learned to Drive focuses on abusive relationships and the way that this abuse is perpetuated. The act of learning to drive becomes an allegory for the development of the protagonist's sexuality.

Abusive relationships infect many aspects of our culture; and wherever an institution attempts to rationalize them, then they become 'normal'. For example, we can look at the commodification of human sexuality evident in western capitalism through the lens of the transitive verb 'to sell'.

POWER SELLS...

SEX SELLS...

YOUTH SELLS...

Suddenly the boundaries become obfuscated, does the subject always have agency in this exchange? Can everything be reduced to a rational equation? Something like:

SEX + YOUTH = POWER? 

Michel Foucault would no doubt approve. 

Being a poor boy with a pretty face in the big bad city of London, I frequently encountered the grim reality of this rationale. I learned to use what I had to my advantage, and though it was never openly discussed, it was always encouraged. All too often, in highly competitive environments, we are pushed to catch the eye of any powerful patron in order to 'succeed' in life. 

How I learned to Drive takes us on a journey to the very heart of this western cultural imperative; one that shines a light on the hypocrisy of the Hellenic ideal upon which the west is built. The classical ideal balances precariously on the shoulders of the adored youth and the benevolent patriarch. Is this really the model to which we should aspire?

I also really enjoyed the opportunity to join the cast and crew in a discussion after the play. This is a technique often employed by smaller companies and it is a great way to allow the cast, crew and spectators to meditate on issues and codify new ideas. I have attended many such sessions, but I found this particular discussion to be useful to many people. Everyone understands this play. I have spoken before about the abusive relationships I have experienced; in fact, I even wrote a song about it (follow the link: MY FIRST MEMORY, by My Lady Jane).

Guided by Vogel's words, people are invited to reevaluate past encounters. How long did your older cousin's hand linger upon your knee as he recounted all the details of his romantic conquests? Was there more to it?

The triumph of this particular production by 'Peel the Limelight' has been to strip away the 'otherness' of the mythological dangerous stranger and locate him within the more familiar circle. James Laver's uncle Peck is your father, your dependable older brother or your reliable old family friend. He is the chemistry teacher to which you can flutter your eyelashes in order to earn a higher grade, or the kindly neighbour who lifted you over the fence that time you wore your ill-fitting shorts. It is the elephant in the room that is ever present, but few dare to critique. 

Without disappearing too far down a psychoanalytical rabbit-hole, 'Peel the Limelight' succeed in subverting conventional representations of the predatory abuser and evoke a much more unsettling, thought-provoking milieu. We have all experienced these awkward meetings, and our responses are learned. Just like learning to drive a car, we have learned to negotiate our relationships, and often these relationships are all about power and control. We are taught to use our sexuality by the people closest to us, not by the stranger who offers us a lift home one dark and stormy night. 

This is a bold play and a very brave production to be staged by a professional and industrious collective in SE Asia. In my opinion, 'Peel the Limelight' has grown into a really confident company capable of developing a piece that is compelling and complex; if you are in Bangkok for their next production, I can highly recommend checking them out. For more information, follow the link below:

PEEL THE LIMELIGHT