Siam Repertory Theatre Company’s Paul Ewing talks to Koktail about staging King Rama VI’s The King’s Command for the first time in over a century.

Have you ever wondered what it would be like to watch a play written by a king over a century ago? When we think of great drama, names like George Bernard Shaw or Bertolt Brecht spring to mind – and William Shakespeare, of course, stands alone. 

Thailand also has a remarkable royal literary tradition, and among its most important figures is His Majesty King Vajiravudh, or King Rama VI, widely recognised within Thai artistic and theatrical heritage. Yet some of his lesser known dramatic works have remained unperformed for over a century, waiting to be brought to the stage. Now, the curtains are finally going up.

This is the unique challenge facing Paul Ewing of the Siam Repertory Theatre Company (SRTC) as he brings The King’s Command to life. The puzzle is a fascinating one: how do you go about staging a royal play written by a Thai king in 1901 who was living in England at the time, about 18th-century France? 

Koktail sits down with the Scottish director to get to the heart of it all, exploring the significance of King Rama VI’s work, why he chose this piece to launch his new initiative with and why now is the perfect time for this story.

Paul Ewing and the Siam Repertory Theatre Company

Paul is no stranger to the discipline of classic theatre. Since earning his drama degree in 1996, his professional path has run through the Royal Shakespeare Company, the West End and the BBC. He now brings that technical background to Bangkok, where, as the founder of Catalyst Entertainment, he has collaborated with local performers and producers, making him a familiar face in theatrical circles.

“We’re trying to bring theatre to the Thai people as much as the visitors. This is by no means a Westerner coming in trying to do something that’s specific for that market. We’re really trying to bring to life works that belong to Siam. He’s written work that works for today. It’s really kind of a stroke of genius”

His latest venture, the Siam Repertory Theatre Company, began with a clear mission: to resurrect the forgotten theatrical legacy of King Rama VI for the general public. That objective takes shape in their current project, The Silk Curtain, a close collaboration with the King Vajiravudh Foundation to bring 20 of his English plays to the stage. But of course, putting the production together is not without its challenges.

“The challenge, I think, is the same with any theatre company, which is just funding, scale and size. It’s an effort trying to get together the right people. But to be honest, it’s been a really beautiful process and really exciting, and there’s been a tremendous amount of support because people have a real sense of pride, I think – a national pride – when it comes to things that are to do with their royal heritage.”

What Is The King’s Command About?

Written in 1901 by a young King Vajiravudh under the pseudonym Carlton H. Terris, this one-act comedy is a brisk, 40-minute affair – “short and sweet”, as Paul puts it. Set in the court of King Louis XV, the plot follows a young duke who attends a masquerade ball and falls for a charming, masked stranger. Because their identities are hidden, they part ways with no way to find each other, just as the king decrees that the duke must marry a woman he has never even met.

“The enduring story is one of love. It reminds me of that famous James Blunt song, You’re Beautiful, about seeing somebody on the subway and you didn’t know their name or however the lyrics go, but you fall in love but you never see them again. You go one way, they go the other. And that really is at the heart of this story. It’s a kind of sliding doors moment, almost.”

While Paul keeps the ending a secret, it is clear that a happy resolution awaits. He finds the play compelling because of its timelessness, its perennial wisdom. Much like the works of the Bard (Shakespeare) himself, The King’s Command is a portrait of the human condition, which is universal. The comedy resonates precisely because the characters are relatable.  And because of that, Paul asserts, there was really no need to modernise The King’s Command. 

“And those kinds of truths are still truths today. People fall in love in the most kind of bizarre circumstances or they meet people in bizarre circumstances, and that’s the beauty of love, isn’t it? It comes like a wind and sweeps you off your feet. And it’s timeless, so it doesn’t need to be modernised in that sense.”

However, Paul’s decision against modernising the script does not detract from its accessibility. He points out that the dialogue is deliberately flowery to heighten the comedic elements, delivered at a brisk, restless though audience-friendly pace that proves far more digestible than traditional Shakespearean verse.

“It’s farcical, but the language is of the time. But it’s not written in verse, so it’s not written in a kind of iambic or anything. It’s more descriptive, it’s more flowery, but because it’s farcical, the language is quite descriptive and quite funny. It is witty, and of course the French were famous for their wit as well, so there is that in it. And it works. It works with us to keep the text buoyant, funny and moving forward quite quickly. But it’s accessible. There’s no ‘thees’ or ‘thous’. It’s not a labour like it maybe is with some of more Shakespeare’s dense works. You’d be able to understand it. When you come and see it, you’ll be able to understand.”

Why Now?

Supported by the British Council and the British Embassy, this staging arrives at a fortuitous moment as it marks the 170th anniversary of UK-Thailand relations since the Bowring Treaty. Apart from the impeccable timing, the production seeks to unite Thai and international talents on a single platform. 

Three theatre luminaries have joined forces to lead a multicultural cast performing the play in both Thai and English. Director Reuben Grove draws on classical expertise from the National Theatre and Shakespeare’s Globe, while movement director Sian Williams contributes decades of experience spanning the Royal Shakespeare Company and Broadway. Backed by international opera tenor James Oxley’s musical direction, this dual-language ensemble brings a strong touch of musicality to the farce – which is particularly fitting since Paul himself is a musician and composer.

Despite this global collaboration, the piece holds fast to its Thai roots and cultural identity, celebrating the dramatic works of King Rama VI through the world’s first professional staging of The King’s Command. Besides, there may be a double-bill experience in store for the future, given King Rama VI’s fondness for writing one-act plays, a format Paul describes as his personal favourite.

“One-act plays are great because they’re short. […] He wrote one-act plays and anybody that knows me from a drama perspective knows that I’m a big fan of one-act plays because I think they’re short and sweet, succinct – well, they should be! And it’s really exciting to have all of these one-act plays of his because they’re great.”

“And when the rep theatre is up and running properly, our idea is to sometimes do double bills, which is to say on an evening, say twice a week, we would run two Rama VI plays back-to-back on one night. So you’d come in, you’d watch The King’s Command and then the interval – the curtains will come down – and we’ll change the set, it’ll come up and it’ll be another one of his one-act plays to be announced.”

Performance Dates and Ticket Reservations

The Siam Repertory Theatre Company debuts The King’s Command on 17 July 2026 in the presence of a royal audience. This landmark event represents the first world-class production of the play scaled up by a modern Thai company.

The production opens to the general public the next day, 18 July 2026, at the Sri Ayudhaya Auditorium inside the National Library’s Rama 6 Foundation. There is no cost to attend, with seating managed entirely by order of arrival.

You can secure your place in the auditorium by clicking to reserve your ticket here. For additional details and the latest scheduling updates, please check Catalyst Entertainments’ Facebook page.