It started conversationally years ago with the idea to make a play about the post-show comment session we theater troupes always do, which sometimes last even longer than the play itself. It never really materialized until now, until we found a fit with the social context. If you look at it now, the perception of commentary is far different from what it was years ago. With the internet and many TV shows, commentators are everywhere. So, it now has a better reason to come to life.

 

The audience don’t need to worry about being forced to perform on stage; it’s not that interactive, but the audience will surely contribute to the direction of the play. There’s one part where the performers and I have no idea what will happen—but, I mean, we do rehearse! There’s no harm seeing it more than once because it’s really going to be a different experience each round. It’s a comedy, but there might just be more than laughter, if you’re willing to read into it. You’ll certainly find at least a scene or two that touch you.

 

There’s a lot of improvisation, so it’s interesting to have a diverse range of performers from different troupes: B-Floor, New Theatre, Naked Mask, Crescentmoon and New Theatre. But it’s still a normal-size production; most of the cast also have more roles than just acting.

 

It’s important. Feedback allows you to see yourself from others’ points of view. What the play tries to emphasize, though, is how easily it is now to give commentary in our society. And very often these comments, be it on online on Pantip or Facebook, or on TV, are taken as facts. The definition of a “comment” has also changed a lot. There’s a lot of pure assumption that people make into fact. Suppose a man is spotted walking slowly, people start to assume he walks that way because he’s sad, or his leg is hurt, while in fact what they saw could have been just a man walking slowly.