Writer: Yann Martel
Adaptor: Lolita Chakrabarti
Director: Max Webster
The show opens in greyscale. A hospital ward with a single metal-framed bed placed centre stage, the only prop in a space which appears devoid of life. Hidden beneath the bed is Pi who is visited by two similarly monochrome officials, who want to hear his story. With a little coaxing, he comes out from under the bed, and promises to tell them a story that will make them believe in God.
With that the scene is infused with colour and the story begins. It’s Pondicherry in the late 70’s, a former French colony in South East India struggling to find its place in the new world it finds itself in. In the midst of uncertainty, the only zoo in the region, run by Pi’s family, seeks a new home on the other side of the world. Leaving their idyllic life behind they board a ship, animals and all, bound for North America. Not long into their journey, disaster strikes.
From his hospital bed, Pi recites an extraordinary tale of bravery, and desperation complete with exotic animals and unbelievable events. Listening to his tale, it quickly comes as no surprise that a boy who choses an infinite number as his moniker should have an imagination as boundless as the ocean he finds himself on.
Illustrating his adventure is a cast of animals, designed by Nick Barnes and Finn Caldwell, and expertly operated by the cast. So excellently designed and operated in fact, that at last year’s Olivier awards, the supporting actor award went to the tiger (the first time a puppet and its operators have ever won the award), and it’s clear to see why. In a similar vein to the rest of the show, the line between what’s real and what’s not merges to suspend disbelief and enthral the audience.
As Pi, Nuwan Hugh Perera is excellent. Onstage at all times with the story revolving around him, there is nowhere to hide, and he doesn’t, making brave choices and committing to them. The role requires a great deal of energy, and he gives it in droves.
The excellent design runs beyond the puppetry too, for the set is a marvel of ingenuity. The play demands a lot and it delivers with a combination of brilliant lighting, projections, and clever staging. It helps create an environment as vibrant as the story deserves and it’s easy to see why it won Oliviers for best set, best lighting, and nominations for its sound design.
The show asks fundamental questions about belief and religion, trauma and grief. But the one question it answers in abundance is the value of a good story. For that, after all, is the reason the theatre exists.
Booking until 15 January 2023
The Reviews Hub Score
3.14
