“So tell me which story do you prefer, the one with animals or the one without?”
by Sarah Becker
This question, posed by the play’s protagonist Pi, to the Japanese investigators delving into his extraordinary tale of survival at sea with only a Bengal tiger for company, sets the stage for a unique theatrical experience.
Having seen this performance directed by Max Webster at the Royal and Derngate theatre, featuring animals captured by puppetry, I would answer that question hands down, ‘with animals’.
Lolita Chakrabarti’s adaptation of Life of Pi flips the narrative backwards and forwards through time, from the stark Mexican hospital where Pi recuperates from his survival ordeal, to the Pondicherry Zoo where his adventures begin, the voyage to Canada on the fated ship Tsimtsum to the 227 days he is stranded on the lifeboat with only a tiger Richard Parker for company.
Brilliantly capturing key moments from the book by Yann Martel through a blend of visual and auditory elements, this production crafts scenes that delight the senses.
The puppetry is particularly noteworthy, from a trio of puppeteers bringing a seasick tiger to life in a manner that’s both magical and immersive, to the scenes of flying fish to a dying zebra spilling his guts over the life raft.
The emotional impact of the puppetry packs a punch. The fate of the zebra and goat draw palpable empathy from the audience. So much so that a young boy seated near me sought solice in an ice cream and a cuddle in the interval following the demise of the zebra at the hands of a man-handled manic hyena. Such is the power of puppetry.
The first half of the show is a sensory delight, bringing the Pondicherry zoo to life with its array of animals skilfully captured by puppeteers. The scene in which Pi’s father feeds a goat to the tiger is particularly stirring evoking an emotive response.
Driven by political instability, the Patel family decide to move from India to Canada embarking on a cargo shop with the animals from their zoo.
The transition from the Patel’s family vibrant life in India to the stark reality of survival at sea is handled with seamless ingenuity by set designer Tim Hatley. One moment we are immersed in the bustling streets of India, and the next, we’re aboard a grey, metallic cargo ship adrift in the vast ocean. The swift scene change is a testament to the production’s clever design and direction.
The story progresses to Pi’s confinement aboard a life raft with a Bengal tiger in the second half with the return of Pi’s family in spirit to offer guidance and the puppeteers bearing sealife, breaking Pi’s confinement.
Divesh Subaskaran plays Pi as an ingenuine innocent whose survival instinct drives him to survive; overcoming his aversion to eating animal flesh, to dominating a tiger whose presence ultimately becomes his rock. He anchors a capable cast—my sole critique is the lack of character depth.
Martel’s novel uniquely delves into the themes of zoology and theology, exploring the intricate connections between animals and humans and examining the multifaceted nature of religion. It raises philosophical questions about the nature of belief in Gold.
The stage adaptation offers snapshots of these subjects through its visual storytelling and dialogue. Although it doesn’t fully explore the novel’s captivating themes, it provides a taste, sparking curiosity and prompting further reflection.
A set-driven production this adaptation of Life of Pi immerses the audience in an experience that pushes the boundaries of theatrical artistry creating a unique tapestry.
Life of Pi runs until Saturday 6th April at Royal and Derngate Theatre. https://www.royalandderngate.co.uk/