You have been working with Mom Noi and Ploy so many times now.
This is the sixth time I’ve worked with Mom Noi and the fourth or fifth time with Ploy. Working with them is like being with family. Ploy and I had acting classes with Mom Noi when we were young, and we used to take part in the same movies. I was the first teenage actor for Mom Noi, so I was like a son on whom he placed great responsibility. There is a bit of pressure to produce work that will please him. But it’s an advantage working with people I know so well, as we already understand each other well. Some things just feel automatic.

Why did you get involved?
A while back, ML Kukrit Pramoj wrote the story based on a Broadway adaptation of [Akira Kurosawa’s] Rashomon. Ten years ago, Mom Noi wanted to make the film, but couldn’t because of the recession. But when Eternity became so successful, Sahamongkol wanted Mom Noi to make another period piece. I had wanted to be part of the film back then, too, so I’m happy I get to be involved in it now.

What are the challenges with period films?
The costumes are a struggle, plus getting a feel for the different dialect used in the past. As for acting, it’s all the same—acting is a science. I don’t have to research as this is the job of the production and costume team, and they just tell me what I need to know to build my character.

Why make period films?
Thai movies today don’t have much variety. Investing in a unique movie like this is a risk for investors. I was happy that Sahamongkol took this opportunity to create something that wasn’t just populist or trendy. They are responsible for developing the content in the film, and this is praiseworthy.

What is the difference between U Mong Pa Muang and Eternity?
These two films may be similar to each other: both period films, same actors and the same director. But Umong Pa Muang is different because the main characters don’t necessarily run the story. It’s the same story told in four different ways. The actors have to depict the same scene over and over with variations.

Any other films this year?
I’m involved in two other films that have just wrapped. One is an indie film called Hi-So, which is now touring film festivals abroad. The second is Shambala, which was shot in Tibet and tells the story of two brothers traveling together.

What’s the biggest challenge when serving 14 courses?
Switching gears and doing something we don’t do regularly. We have the staff and the facility to do it but it’s a real change from a la carte.

What’s the course you’re most excited about?
The fact that we’re going to have monk fish with veal sweetbread is kind of sexy. It’s something you don’t see a lot in Bangkok, and it really is a delicious product that more people would enjoy if they could get over what it is [the thymus gland]. When you treat it right, they’re like the best chicken McNuggets in the world—crispy outside, soft inside, a very mild taste.

You’ve got a chocolate flavored duck jus in a test tube at one point.
Well, I think for 14 courses, we could just do straight food, and the at level that we’re doing it, it would be a fine meal. But I really want to push some things that would make people remember it and talk about it. The chocolate water is a challenging flavor profile, but it comes at the midway point of the meal. Hopefully we’ll have won some trust from the guests and they’ll be enjoying themselves with the wine by then. And they’ll be able to suspend their preconceived notions. If not, it’s just one course out of many.

Is this a new direction for Panorama?
Within the restaurant we have a private room that can seat up to 10 and it’s got a private kitchen. For the larger space, we’ll be offering chef’s menus that will be short 4-course tasting menus and wine pairings within the same pricing point, and simple, straight food—no duck chocolate water. But the private room is where these kinds of things can happen. People can just tell me how many courses, what they like, their budget, and we’ll make something for them.

What about the wine?
The most exciting are the three Bordeaux we have back-to-back. It’s an interesting showcase of very different styles of wine from the same region. One big fruit-driven one, one animal, earthy, almost rustic one, which is why it’s paired with truffles, and then a Chateau Haut Brion which just has great finesse and is a much more balanced wine. Gregoire Glachant

B3,499, Sep 23-24, 7pm onwards. Panorama, 23/F, Crowne Plaza Bangkok, 952 Rama 4 Rd. 02-632-9000.

How was your childhood?
I grew up with fun parents. They always made me laugh. I am the only child of parents who separated when I was only in grade two. I then lived with my mom, who is a banker, and my grandmother, who has now passed away.

Did you feel lonely as an only child?
Not really. We’ve always had pets, cats and dogs. I love to spend time with them and always talk to them. I feel like they are talking to me too. Those who have pets will understand what I’m saying.

What do you like about performing?
I am actually a very shy and not very confident person. But when I started performing I discovered that I was so happy. I also loved to see soap operas and Japanese cartoons as a kid, and that really helped me see what acting is. It’s a science that’s creative and charming. It opens my imagination.

Did you study acting then?
No, I didn’t. I was in Communication Arts at Chula and chose to study speech science. I had studied hard my whole life and I didn’t want that anymore. So during university, I did lots of acting activities at my faculty. That was the greatest experience.

How did you become Madam Mod?
I applied to the Play Channel (GMM’s cable TV) after my friend who is a creative producer there asked me to audition. They wanted to create a character for a language show and we finally agreed on Madam Mod. The show is called Pasa Plaza (Language Plaza). Madam Mod is totally different from who I am. Sometimes I think acting as Madam Mod is weird and ugly, but it is meant to be fun.

What were you doing before?
I used to work as a teacher, but I didn’t like it so I quit. I felt that it wasn’t who I am. Being a teacher requires sacrifice and patience, and I wanted to do something else, which is acting. Education is really valuable. Many can’t have it but some throw it away. I feel sorry for those who want it but can’t have it.

Have you always been very effeminate?
Since elementary school. Back then I didn’t feel any different from others, but when I grew up I realized that society confines us to a boy-girl binary. I was bullied sometimes, but I didn’t think it was that bad. It made me more patient and more understanding about the world. We’re all different but we can live together. If you have a problem, don’t blame others. You are the one who treats it as trouble. You have to advance yourself. Being a human is the most amazing thing on Earth!

What’s your next dream?
I don’t want to do anything else. This is what I love. But for life, I want to help people—helping people cope with their problems through dhamma is a good way to help.

The clip that started it all:

Love her? Go show your appreciation on Madame Mod's Facebook page right here.

Being an architect wasn’t a very popular career choice 40 years ago. All I knew was that architects designed houses.

I really liked to draw things when I was a kid. That’s why my teacher suggested I study architecture in college.

I got into both Chulalongkorn and Silpakorn universities but I chose Chula because I knew some seniors there and I liked playing rugby. I played for Chula’s rugby team for three years. Nowadays people don’t watch it anymore, but rugby was popular back then.

I left the managing director position at an architecture firm because I wanted to open my own company. I didn’t just want to be an employee. If you want to do something your way, you’ve got to do it on your own.

I wasn’t worried about starting my own business because I was a top manager before and I’d made it through hard times. I knew I could start off small and make it grow later. I made it through a few recessions. I know how to handle a bad economy.

I had to be really careful with customers. You can’t just accept every job someone offers you. If your customers are corrupt, your business won’t survive either.

A career like mine doesn’t really have an elevated position. I just want to give it my best. When people accept my work, that’s success. Society is the judge.

Bringing the firm into the international market is a necessity. Now foreigners are starting businesses in Thailand. If we don’t compete with them, we’ll be left behind.

I began publishing books to represent Thai architecture when I saw architecture books representing Singapore, Malaysia, the Philippines and Indonesia. There were no books on Thai architecture. That was embarrassing. I wanted to show that Thais can design for the world, too.

We don’t have much stunning architecture because we are not a wealthy country. Thais build houses and buildings to live in. We don’t really care about luxury. We don’t invest much money in architecture like Singapore. We still have so many people living in slums.

We’re going to have more people living in slums if the government doesn’t create a plan to help them. They must show people that you don’t have to move to the city to live a good life.

It takes time to improve the lives of people in slums. Maybe we should start with education. When people are educated they might change to improve their own lives.

Bangkok is an extraordinary city. It’s where the high-end and low-end meet. The rich and the poor live together: wealthy people dine in fancy restaurants, poorer folks eat at cheaper places, but the taste of their food is not really that different. You don’t find this in other parts of the world.

Architecture can improve society if you get rid of corruption. But Thailand has suffered so much corruption from every government.

There is so much poverty and filth and so many traffic jams. Bangkok to me is not that beautiful a city, compared to where I’ve been in Europe or the US.

But Bangkok has character. My foreign friends have said that every corner of the city is different, and that makes it interesting. That’s what’s charming about Bangkok. And the cost of living is very cheap, too.

We must not forget that our country has 76 more cities aside from Bangkok. Lately we’ve seen a few more cities became self-sufficient, such as Chiang Mai, Khorat, Udonthani, Khon Kaen. People who’ve grown up and gone to college there don’t necessarily want to move to Bangkok, so they find work there instead. They’d rather stay where they are because they know that those places can still expand and improve.

I would take care of the illegal signs and establish laws for controlling street vendors, if I were Bangkok’s governor. If you drive along the streets nowadays you’ll see rows and rows of advertising canvases, covering the stalls of street vendors. We have to find a way to manage them and, at the same time, make sure that those street vendors can still make a living.

I’m a simple person. I don’t need any luxury. If I had a sports car, a private jet, or a yacht, I would have to find someone to take care of them for me, and that’s nothing but a burden.

Happiness doesn’t always have to be something grand. You have to find out where your happiness is.

What is Cozaron de Angeles in Paradise all about?
It’s simply a joyful tale about the marriage of a couple from two different cultures and angels from heaven blessing them.

How did you end up performing in Singapore?
Not too long ago, I was holidaying in Singapore and was awed by the beauty of the National Museum and the different cultures here. Even in Europe, there aren’t as many interesting cities as Singapore. I decided that it would be a great experience for Theater Tol to present our work here. So I did some background research about the Voyage Night Festival here, aliased with the organizers, presented it to them—it was stressful like an exam—but luckily they loved it.

How important is the façade of the National Museum to your performance?
It’s not only about the excellent architecture of the museum, as much as it influences the work. But the challenge was also to capture the soul and historical richness of the location. Also a past that was filled with sailors and prostitutes makes it more memorable to perform here.

Why weddings in an age when they have gone out of vogue?
It’s not a really good time economically and life is a big struggle but we want to give people the opportunity to forget the hard times, share our happiness and dream with us in this light, hopeful tale.

Go see the spectacular show at the Voyage Night Festival 2011.

How do you relate to your character Alan Strang?
Alan is very much like me when I was 17. I didn't have a clear idea of what I was doing and didn’t quite know or feel comfortable with where I was. What he goes through with the other characters is really how I used to feel every day—the feeling of being scrutinized and judged. I was constantly on the lookout for someone to see things through my lens.

How do you feel about having to do a nude scene?
I think it would be a lot more interesting to ask my mother this question! She'll have a lot to say! Jokes aside, after reading the script multiple times and having had the chance to dissect it, I've grown more and more comfortable with the idea. Admittedly, I do sometimes think about it and feel incredibly nervous, but after reminding myself that it's such an integral part of the piece, I feel a lot less pressure. I think it's important to remember, both as an actor and an audience member, that the nudity is an element within the piece, but should not overshadow its core.

What tips were you able to pick up from Daniel Radcliffe’s interpretation of the character?
I was not fortunate enough to watch Daniel Radcliffe's performance. However, that also means that I will not be too influenced by his interpretation. This allows me more freedom as an actor to paint on the canvas that is Alan. I have my own ideas for the character both physically and emotionally and I am really excited to bring them to the stage.

What has the experience on set been like?
Currently, we are still in the workshop phase of the production; that is forming a common vocabulary within the ensemble and getting to know one another. We've done a fair amount of research into the piece as well as the themes that we'll be exploring and finding out just what Equus is about and what it means to an audience. The workshop enables us to think about things and work on them at home so that once we enter the rehearsal room, we can get the show up and ready fast and with superb quality.

What can the audience look forward to in Equus?
They can look forward to raw emotion put to hard-hitting literature. Peter Shaffer has written a masterpiece and it's an honor to be working on this production, and more so with this team. Expect to leave the theater questioning a lot of things in life and hopefully see things in a bit of a fresher perspective.

Catch the young actor in action in Equus.

Where did the idea for Lonely Furrow stem from?
Having lived in a Bihar village for much of my childhood, I have always been fascinated, concerned and connected with the lives of peasants. In fact, I have seen and experienced how it has transformed from a flourishing, idyllic agricultural village to its current bleak plight.

How is the artistic process similar to the labor of a Bihari farmer?
The works created for this exhibition had a very tactile, labor-intensive and organic approach. I did loads of hand painting as the various pulps used in this project are very sensitive. Besides hand painting, drawings prepared for the plates were also a meticulous process.

Did the geographical detachment of working in Singapore help?
Of course it did. It was ironic that I was creating my works about Indian farmers in an ultra-modern city state. But I was fortunate to have a great team in the Singapore Tyler Print Institute who collaborated with me in achieving my artistic vision. In fact, this project was an eye-opener for me, as I usually work in a solitary style.

What would you like to address with your project?
Unlike the detached and disposable nature of media reports, I wanted to explore alternative ways of looking at a very pertinent issue facing India now. India is still an agricultural-based society but the multinationals have adversely affected the lives of the average Indian farmer. The mass suicides by farmers are also a grave concern and a tragic loss to society as the knowledge from generations of these folks is absolutely wasted.

What’s in the pipeline?
A major Lonely Furrow exhibition will be debuting in India, early 2012. The works-in-progress exhibitions here and in New York are like teasers before the big one.

Lonely Furrow runs through Sep 10 at the Singapore Tyler Print Institute.

How was Paper Boat conceived?
It was conceived two years ago in a theater workshop supported by The Substation and Asia-Europe Foundation(ASEF). Besides TheatreStrays, a Bulgarian theater troupe was also involved. In one of our exchanges, we had to provoke memories through physical sensation. I recollected my childhood when my father and I used to make paper boats and float them on the sea.

A transformative process has often been used to explain the play, but how exactly does that happen?
When we were performing in Brazil, one of the performers spoke about how she had absolutely forgotten about the memory of her making paper boats with her dad during her childhood and that the play made her reconnect with her past memories. It might be a simple work but the universality and common threads among different cultures resonate with poignancy.

Can you expect the local audience, who are known to be somewhat tepid when it comes to interactive works, to be active collaborators during the performance?
Sometimes, the very act of not being outwardly receptive itself is being a collaborator. During rehearsals, we are prepared to face audiences who would prefer not to actively participate, but we believe that in their own contemplative way, they would reflect on their lives in a world that is so often bombarded by information overload.
Intrigued?

Unveil your secrets at Paper Boat on Aug 25-27 at Esplanade Theatre Studio.

If you could DJ in any location, where would it be? Dave Angel (DA): Sentosa Beach, I had a great time performing there before.
Kaye (K): I'd follow in Johnny Cash's footsteps and perform in prisons to shine some light.
Norman Chung (NC): In zero gravity.

Are there any jazz influences in your sets?
DA: Not much in my set but definitely in the music I create.
K: Yes, it's everywhere.
NC: Just a touch.

Describe your style in a haiku...
DA: Exciting, relentless and true.
K: I am who I am. Open your ears.
NC: What is a haiku? This interview is over. Thank you very much.

What song would be on your MP3 player if you had to run a marathon?
DA: "Filles de Killmanjaro" by Miles Davis and some early electro.
K: Jeff Mills, techno tempo is good for running.
NC: "Chase" by Giorgio Moroder.

If music was a woman, describe her.
DA: Just like my wife: Sexy, beautiful, charming, loyal and mine.
K: Curvy, black and with a huge afro.
NC: She is in tune, on time and turns me on.

Catch the trio in action at the Blue Velveteen Grey Goose Sessions.

As the World Gourmet Festival rolls into town once again, we compare how much it would cost to eat at the restaurants of five of the eight visiting chefs with what you’ll be charged to sample their food here. (The annual festival, held at the Four Seasons, flies in world class chefs who each cook on a different night.) We appreciate it’s a little skewed after all, because while eating at these visiting chefs’ restaurants is often much cheaper than the B5,700 fee Four Seasons is charging for dinner, that amount is still much, much cheaper than zipping over to Geneva or New York for the weekend.

Still, there’s the question of whether chefs can really reproduce the food that makes them famous back home without access to their kitchen team and all the local ingredients they usually employ. But that question, in our experience, doesn’t really have an answer either. It depends. Some visiting chefs are wonderful; others really have you scratching your head. Still, here’s who we’re ready to bet our money on.
For reservations, visit www.worldgourmetfestivalbangkok.com, call 02-126-8866 or e-mail [email protected].

Hari Nayak (Sep 5-6)

Where from: Orissa, New York, USA
What: Indian with a twist
What they say: New York Times: “Worth it. These … creative touches make Orissa a restaurant I’ll be happy to return to in the months to come.”
What you’d pay there: Around B750-1,200: apps (US$10-16) + sauces, chutney (US$3) + main (US$14-25). Or eat from 5-6:30pm for US$18.95 (B600).
Verdict: Sounds nice, but it’s a steep markup. We’d rather go back to our own Gaggan (B1,600 for a ten- to twelve-dish degustation) at a fraction of the price.

Ivo Adam (Sep 9-10)

Where from: Seven Asconda, Geneva, Switzerland
What: Swiss haute cuisine
What they say: Michelin gave Adam’s restaurant one star, writing,“The Swiss gourmet dining scene has scaled to new heights.”
What you’d pay there: B7,600 for a 7-course surprise menu or B11,170 with wine.
Verdict: You’re saving B2,000, not to mention the plane tickets to Switzerland. Sign us up!

Anthony Demetre (Sep 5-6)

Where from: Wild Honey, London, UK
What: Produce-centric, Brit and comforting
What they say: Another Michelin star earner. TimeOut London says, “The composition is thoughtful, each main using two to four key ingredients, often with an English bent.”
What you’d pay there: B1,541-B2,247 for dinner: appetizers (B435-B635) + main course (B860-B1223) + dessert (B245-390). There’s also a B1,122 pre-theater 3-course dinner set.
Verdict: Clearly cheaper back in the UK, but we’ve been reading a lot of good things about Anthony. Our plan is to go for lunch, when it’s only B1,500.

David Lee (Sep 9-10)

Where from: Nota Bene, Toronto, Canada
What: Italian and Mediterranean influences with great Canadian seafood
What they say: It ranks four out of five stars on user-generated sites like Yelp or Urban Spoon. The pros are a bit tougher but it still got voted one of Canada’s Top 10 restaurants by Where Magazine.
What you’d pay there: B1,165-B3,390: appetizers (B275) + main course (B820-B2,750) + dessert (B70-B365). Pre-theater menu: B1,050 for two courses or B1,300 for three.
Verdict: The higher-end produce on the menu could set you back over B3,000, but that’s still half what you’ll end up paying here after tax and service. Call us snobs but we’d rather save our pennies for the Michelin chefs.

Adriano Cavagnini (Sep 5-6)

Where from: Amaranto, Four Seasons Hotel London at Park Lane
What: Modern Italian
What they say: TimeOut writes, “The staff is professional and plentiful. Amaranto is high-flying Italian cooking in a luxurious setting.” Decanter adds, “[The Italian cuisine here] is a long way from its origins, but it’s also ingenious, imaginative, and precisely executed.”
What you’d pay there: B833-2,400: Starter (£7-20) + main (£10-29).
Verdict: It sounds like the multi-million pound revamp of the space which lasted two years and was completed this year has a lot to do with Amaranto’s draw. But the chef is getting high marks, too, and inventive Italian food is in short supply here. Sounds good!

Who else?

Sep 7–8: Guido Haverkock, i Portici Restaurant, Bologna, Italy
Sep 7–8: Kazumi Sawada, Kumoi, Guangzhou, China
Sep 9–10: Dolli Irigoyen, Espacio Dolli, Buenos Aires, Argentina

Kitchen Talk

Ivo Adam

“What will I bring? I’m packing a bottle of Bündner Röteli (cherry liquor from the Swiss Mountains), Noccino (liquor made of green walnuts), Maggia Pepper (humid pepper mix from a valley in Ticiono) and rose water essence. For almost a year, I’ve also been very fond of corn: sweet corn, salty corn, corn puree, corn ice-cream. It is a mild flavour on its own, it’s not expensive and it works great with fish. I will integrate lots of [local] ingredients but I think I’m invited to cook whatever I do in Switzerland. So expect refreshing dishes like sweet chili mascarpone with pomelo and a cucumber and kiwi duo. Guests will also taste avocado in a very different style and some beef tartar with brown sugar flavours. And, yes, they will be served corn and fish, too. My creative process is like playing with Lego. You want to build your own house, in your own colours, and you start combining the bricks into something new. But Switzerland has a tradition of top notch gastronomy, and even though my style is regarded as young, fresh and creative, I always go back to our roots.”

Anthony Demetre

“I’m a huge fan of Bangkok; it’s a culinary inspiration. We are flying out of London Heathrow and arriving 12 hours later, at 6am. We will arrive at the hotel for breakfast time, and then head straight to the food markets. There, Alan (my assistant) and I will draw inspiration from what we see on offer and only then will we put the final touches to our menu. My garnish for my main course is still not decided until I see what’s available locally. We will bring a few items with us. I’m using a wonderful Lincolnshire smoked eel as one of my dishes, so that will be sent from England. We also will be using wagyu beef short rib; this will come from Australia. I’m a huge advocate of under-used cuts of meat and fish. I find most chefs shun the lesser known cuts in favour of the prime options: this is a real shame as I find that with expert technique, the flavor you get from the working muscles is unrivalled. It’s a practice we instill at my restaurants and it enables great cooking at very reasonable prices. We scour the London markets daily, and this really inspires us: we really have no idea what we are cooking until we know what’s available. It’s challenging but hugely creative. Changing the bulk of the menu daily helps keep costs down and things exciting for our clientele.”