Life of Pi – Leeds Grand Theatre

Book: Yan Martel

Adapter: Lolita Chakrabarti

Director: Max Webster

As part of an extensive tour of the UK and Ireland, Life of Pi sails in to Leeds Grand Theatre. But does it sink or swim?

The story follows the Patel family as they flee a politically unstable India, uprooting themselves and their zoo of exotic animals for the promise of safer shores. The story takes place in the late 1970s, although the symbolism and themes are timeless.

Sixteen-year-old Pi retells his unbelievable voyage, and documents the sinking of his cargo ship in the Pacific Ocean. He is the only human survivor, and shares a lifeboat with a hyena, zebra, orangutang and a Bengal tiger called Richard Parker. Stranded together on a lifeboat, it’s a race against time to see if they will survive the harsh conditions.

The titular Pi is played by Divesh Subaskaran, who travelled to India to research the role. This dedication to character development really pays off, and Subaskaran plays Pi with a real believability. His physicality is stunning, especially when thrown into the ocean. He manages to tease out some comedy and is effortlessly likeable, the audience is rooting for him to survive.

Ralph Birtwell portrays the stereotypical Indian father figure. Birtwell has very precise movements throughout, although perhaps lacks some of the spontaneity of the other characters. Ravi (Vinesh Veerasami) is the older and wiser brother, often teasing Pi but also able to demonstrate a brotherly bond and showing sincere loyalty and love. Goldy Notay’s Amma is the caring mother in the story. Her maternal instincts in protecting her sons from the horrors of the real world are authentic and sincere.

The ensemble performers work together to create everything from floating driftwood, stormy seas and even a bustling Indian marketplace. They also assume the roles of extra family members, the ships crew and hospital staff, and transition into each role seamlessly. Special mention must go to Peter Twose’s delicious villainous portrayal of the cook.

The animals are brought to life through breathtaking puppetry, under the helm of coordinators Nick Barnes and Finn Caldwell. It is easy to suspend disbelief and imagine you are seeing actual animals, as every motion and movement is perfectly choreographed. This reviewer is reminded of the magnificent steed in War Horse, or believable elephants in Circus 1903.

The main difference here is that the puppets are designed to look like they are crafted from driftwood, a constant reminder than we are never far from the crashing waves. The puppeteers (Sebastian Goffin, Romina Hytten and Antony Antunes) are true masters of their art – always visible and yet never in the way. The Bengal tiger is a highlight, and moves with a silky precision, prowling around the stage with pride.

Tim Hatley’s innovative set design adds to the atmosphere, and draws the audience in. The boat is almost something of a puppet itself, allowing performers to manipulate it easily. Along with Tim Deiling and Tim Lutkin’s beautifully intricate lighting design, the engagement is so strong here that it’s almost like watching a film.

Director Max Webster is able to draw out the minute details of each individual moment to create a stunning and pacey production. Every movement is carefully planned and executed to the point where the show is akin to a strong piece of physical theatre. Webster’s direction of the ensemble is particularly effective; moving almost as one like ocean waves.

When it comes to content, everything is not always as nice as Pi – the show contains themes of death, murder and animal cruelty. The age rating is only 8+ but the theme of loss is strong, and the violence against the animals is both sudden and unexpected. The tiger reaches ferocious heights at points, and there are some suggestively graphic scenes that could easily scare younger theatregoers.

Winner of five Olivier Awards, Life of Pi is truly a spectacle and is worthy of all the positive reviews and accolades. All the trappings of a first-rate West End production are here, and nothing seems watered down for the national tour. Whether you’ve read the book or not, it’s a captivating story and a powerful piece of theatre.

A five-star review? Easy as Pi.

Runs until 13th January 2024