“NOWHERELAND: THE EDEN” (Ray-O, Bangkok, 2022) A performance review

Itwas several years ago that I tapped into Ray-O’s “Nowhereland” myself. The thesis of his play was intrusive. It connected with the part where my truth lied and transformed how I saw the world to some extent. He is still obsessed with the human psyche, the quality that makes his work <a href="https://www.facebook.com/nowhereland.connect" rel="noopener ugc nofollow" target="_blank">“NOWHERELAND: THE EDEN”</a> fascinating. Ray-O has now collaborated with Party, a LAMDA-trained director, whose course has trained some of now West-end influential theatre directors. So it is edgy enough to make me want to immerse myself in the show. Eagerly when I was invited to attend, as they called it, “the prototype night.” <img alt="Ray-O" src="https://miro.medium.com/v2/resize:fit:700/1*Jvp5s-6hiwDUt8qdunTtIQ.jpeg" style="height:996px; width:700px" /> “Seeker,” as they called us, were led into the theatre, where there were white wooden sets with dozen doors. A group of actors circled, staring into the ceiling, mumbling to themselves the way hamlet speaks about life, dream, and death. Then, they dissolved, hiding deep in those shutting doors, inviting us to open, not knowing what awaited and what we would discover. Only the promise that it will eventually bring us back to “our presence” was made. <a href="https://radtai.medium.com/nowhereland-the-eden-ray-o-bangkok-2022-a-performance-review-in-english-c6318af36794">Learn More</a>