9 September 2023 I 19:45 I Lyceum Theatre, Sheffield
⭐⭐⭐⭐
It is an absolute marvel to return to this invigorating performance of Max Webster's Life Of Pi, previously watching this stage adaptation last year at the Wyndham's Theatre, London. Although this remains the same production, minor changes are noticeable between the runs, whether to benefit the tour's staging or enhance the visuals of stage magic. Thus questioning at times whether this play is suited to the touring style. Nevertheless, I really appreciate seeing Life Of Pi showcasing its talents and poignant story across the country. The theatre version embodies the spirit of a tiger, roaring onto stage with a tension to hold the auditorium in awe. A triumph that will easily take every single venue by storm.
Adapted from the novel by Yann Martel, the tale follows a teenage boy from Pondicherry, India, who is forced to relocate with his family to Canada. Following a tempestuous journey via cargo boat, Pi becomes isolated after a devastating shipwreck, leaving him fighting for his life with tiger Richard Parker aboard a lifeboat. An unlikely bond develops between man and beast, infused with power and hope to defy the odds when life is at stake.
The opening of the play sets the immediate tone of love amongst family, albeit beginning with a slower pace of action, but providing necessary exposition. The setting is non-linear, jumping between Pi's recollection of events and a Mexican hospital, where he is hounded by researchers to form a credible story. I am particularly impressed by Lilian Tsang's performance as Mrs Okamoto, who is irritatingly unlikeable from her wicked persistence to draw a 'believable' story. Tsang delivers a strong dynamism alongside Subaskaran's Pi, challenging the audience's ideas of faith and trust.
Starring as Pi, Divesh Subaskaran gives everything you could want from the role. It is enchanting to see his progression across the show, as he begins with a bouncy naivety, learning patience and maturity in order to survive, aided by the revolving support and memories of his family in dreamlike states. Act 1 represents Pi's loveable side, though Act 2 proves far more investing in the way that he develops dominance, equality even, against Richard Parker. The intimate bond they share increases, and over the dramatic sequencing, this relationship is what audiences will remember.
The puppetry team are simply exquisite. There is no other word for it. Finn Caldwell's puppetry direction gives life to the animals, creating realistic creatures that respond with every breath, every twitch, every ounce of pain in unbelievable likeness. The design of the animals mimics a driftwood appearance alike the tragically broken ship, as the animals share Pi's journey. From even the earliest moments, death is represented through the puppets, and it amazes me how suddenly an animal can go from life to a hollow shell, producing tormenting stage images. The first introduction to the Patel's zoo is incredibly fun, as we are introduced to each of the puppets. However, it has the potential to feel more like a showcase of work, rather than directly affecting the story. It doesn't disrupt the enjoyment of the show, though in terms of how the story flows, it is slightly jarring.
Additionally, Richard Parker has a scene of anthropomorphism, adopting a French accent (Antony Antunes) in an oddly cynical conversation with Pi. It takes some time to get into it, however I left the theatre with a huge respect for this scene and Antunes' comedy skill to move away from the static nature of the sea. Performed by Keshini Mishi, Pi's sister Rani holds a wonderfully bright spark as we gain insight into the family's life, and this excitability is vividly important to hold the positive light, contradicting the remainder of the play.
My highlight of Life Of Pi is the scripting, written by Lolita Chakrabarti. This is something which I found increased adoration for the second time around. Across the play, there are some incredibly beautiful sequences of text, as well as more emotional monologues, memorably delivered by a panic-stricken Father (Ralph Birtwell). Each line resonates with such intense emotion, no throw away lines where even silences are placed to heighten tensions. The use of language is masterful!
To develop an atmosphere, Carolyn Downing's sound design transports you worlds away from the auditorium. You could close your eyes and truly be immersed within each location. Perhaps the biggest change from Life Of Pi's Wyndham's Theatre run is the change in setting, from a thrust staging to currently end-on, designed by Tim Hatley. Originally, there only featured a back wall with a boat shaped stage, however walls have been implemented either side of the stage to cover the wings. In some instances, this is really functional, particularly the Indian marketplace to heighten the bustling community. However, these are detrimental for ocean scenes, mostly in Act 2. It removes the essence of the 'open sea' and creates an enclosed area that becomes claustrophobic and restrictive. Seeing a previous staging may encourage me to be slightly more critical, but the spirit of being lost to the world is rejected with this touring production.
Although I don't feel that Life Of Pi is quite as suited to touring life, it still remains the production that I fell in love with on first watch. The storytelling is rich, and carries unbelievably important messages. The plot is heart-wrenching, and I think whether you have prior knowledge to Martel's novel, the 2012 film, or neither at all, the level of creativity and craftsmanship will blow your mind!
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