A poster for ‘The Life of Pi’ stage adaptation. Photo: Nita Mukesh Ambani Cultural Centre
Dec. 5 to Dec. 22, 2024 at the NMACC, Mumbai: Unbelievable stagecraft is the first expression that comes to mind from watching The Life of Pi at its Mumbai premiere at the Grand Theatre, Nita Mukesh Ambani Cultural Centre (NMACC).
The logistics alone of staging a theatre production of a theme as complex as The Life of Pi had seemed very challenging, if not over-ambitious. However, these challenges were accepted by producer Simon Friend and a visual treat has resulted from it.
Having earlier read the Man Booker prize-winning book by Yann Martel, and also seen the movie of the same name, one was acquainted with the storyline. However, the visual encounter with live actors and particularly ‘live’ wild animals made the experience quite vivid.
This tale is about the sea voyage of a family from Pondicherry to a new home in Canada on a cargo ship with caged wild animals — a hyena, a zebra, an orangutan and a large Royal Bengal tiger (named Richard Parker, no less) traveling on the same vessel.
A mishap on the high seas resulting in the breaking loose of the animals and the story of survival against all odds, adrift on the turbulent Pacific Ocean is the central theme of the play.
The lighting and special effects such as creating the illusion of ocean waves on stage highlight the drama. One feels thrown onto the Pacific platform while seriously rooting for the survival of the protagonist, Piscine Patel (Pi) as he is adrift for 200 days, dodging the aggressive hungry tiger.
The puppeteers who handle the full-sized animals do a sensational job to induce the feeling of menace. One wishes that these superb puppeteers were dressed in one single color; they would have uniformly blended into a seamless background.
The acting of the protagonist who plays Pi brings about the intensity intended for the character. The supporting cast creates a suitable framework for the tension. Our one observation was that too much time is spent in the hospital room where Pi Patel is recovering. It tends to detract a bit from the dramatic intent of the play.
The stage adaptation by Lolita Chakraberti is precise to the core of the story, handled with dexterity and skill to transport the viewer easily from the Mexican hospital where the rescued Pi is being treated to the street scene in his native Pondicherry as also to the menace of facing Richard Parker in the Pacific. This is where the superb stagecraft takes over.
All in all, this production of The Life of Pi is an experience that only theatre can deliver at its very best. And it does.
Overall, we strongly suggest a visit to the NMACC to see this show.
