Based on the best-selling novel by Yann Martel and Oscar winning feature film, Life of Pi was adapted for stage in 2019 by Lolita Chakrabarti. After winning 5 Olivier Awards, including Best New Play and 3 Tony awards, the grand adventure embarks on its first ever UK tour – with His Majesty’s Theatre, Aberdeen playing host to the Scottish premiere of this incredible production.
After encountering a storm in the Pacific Ocean, a young man named Pi is stranded on a lifeboat with four other survivors – a hyena, a zebra, an orangutan and a Royal Bengal tiger. In this epic adventure, Pi forms an unexpected connection with the Royal Bengal tiger as they fight for survival.
Leading the cast of 17 strong is Divesh Subaskaran as Pi. It is most notable that this is Subaskaran’s professional debut and what an incredible debut it is. Subaskaran immediately wins the audience over in the opening scene, where we are introduced to Pi in an intimidating hospital environment, enhanced by Tim Lutkin and Tim Deiling’s impressive lighting design and Tim Hatley’s set design, which only continued to impress throughout the production. Subaskaran masters the perfect balance of quick wit and vulnerability as Pi throughout – thanks to Lolita Chakrabarti’s clever adaptation of the piece. Subaskaran has a challenging task of dipping in and out of ‘past’ and ‘present’ Pi, recalling the events of the shipwreck for medical and legal professionals and most importantly, the audience. The role of Pi is incredibly emotionally and physically demanding and it takes an extremely talented actor to convincingly portray emotion and elements of humour opposite puppets for the majority of the show, which Subaskaran delivered in a naturalistic and authentic manner throughout.
The rest of the (human) ensemble cast, portraying numerous characters throughout includes: Bhawna Bhawsar as Lulu Chen/Mrs Biology Kumar; Ralph Birtwell as Father; Chand Martinez as Mamaji/Pandit-Ji/Admiral Balbir Singh; Keshini Misha as Rani; Goldy Notay as Amma; Peter Towse as Cook/Father Martin; Lilian Tsang as Mrs Okamoto/Mrs Khan/Ship’s Captain and Vinesh Veerasami as Russian Sailor. Members of the ensemble also take turns in puppeteering a number of the puppets and physical set pieces. Each cast member was memorable in their role, particularly Chand Martinez who portrayed multiple roles throughout, commanding the stage and adapting his physicality and vocal characteristics seamlessly.
For those who have seen the film, the task of adapting Life of Pi for stage seems somewhat impossible, especially when factoring the films Oscar win in 2013 for Best Cinematography and Best Visual Effects. Somehow, the stage production achieves this with thanks to a substantial production and creative team, as well as the actors on stage. Most notable however, is the puppet design, technicalities and movement direction. The puppets are operated by a number of cast members featuring: Antony Antunes as Tiger Hind; Sebstian Goffin as Tiger Head; Fred Davies as Tiger Hind; Kate Kennedy-Rose as Tiger Heart; Kate Rowsell as Tiger Heart/Hind; Peter Twose as Tiger Head and Puppet Captain and Romina Hytten as Tiger Heart/Hind/Puppet Captain and Resident Director of the piece. Each actor is credited to operate the tiger, however, this works on rotation with the other characters/puppets – such as Orange Juice (an Orangutan); the Hyena; Black and White (a Zebra); a sea turtle; butterflies; a Giraffe and of course, Richard Parker, the Royal Bengal Tiger.
The puppeteering is most impressive, both from a physical aspect where the audience can catch a glimpse of an actor on all fours inside the puppet throughout or when visibly stood next to, or behind, each puppet. The design of the puppets by Nick Barnes and Finn Caldwell is remarkable, with the intention of the details on each animal to resemble the driftwood from the shipwreck, adding an extra layer to the already impressive visuals.
Of course, having impressive puppets to look at and experience visually is one task in itself, but to make them movable and believable as actual animals is a monstrous task. Movement Director, Finn Caldwell and Puppet Technician, Aga Fraczak have done an outstanding job, working alongside the actors on stage who bring the animals to life each night. Richard Parker, our Royal Bengal Tiger, is operated by 3 actors – one operating his head, one within the physical puppet as Tiger Heart and another operating the hind legs. The level of skill required to communicate through breathwork and movement as a puppeteering team of 3 is simply breath-taking to watch. As the rotation of actors and puppeteers change when operating the tiger, the movement and subtle behaviour changes of Richard Parker are reflected also, in keeping with Pi’s story, truly making him believable to an audience. From fight scenes on the boat to more subdued moments surrounded by stars in the middle of the Pacific Ocean, Richard Parker exists truly and strikingly realistically on stage as if he were a human actor who could communicate verbally opposite Subaskaran as Pi.
Complimenting and enhancing the outstanding acting and puppeteering on stage is Tim Hatley’s large scale set design and video design by Andrzej Goulding, which takes the audience on an incredible journey. Somehow, Hatley’s set design allows the set to be manipulated to follow the story from a jarring hospital room instantly transitioning to the Patel family zoo; an authentic and traditional Indian market; an intimidating cargo ship and eventually, where we spend the majority of our time, the middle of the Pacific Ocean – including a revolving stage to manipulate and mimic movements of the boat. Goulding’s video design is arguably the centre piece of the production and it is truly impressive to see how effective projections and videos can be on stage when used properly and in keeping with a set design that works in tandem – alongside lighting Design by Tim Lutkin and Tim Deiling. Sound Designer, Carolyn Downing and Composer, Andrew T Mackay compliment all of the above beautifully, creating atmosphere, tension and capturing the more subdued and quieter moments of the piece. The creative and production team play a vital role in any production but particularly in this piece as it provides an assault on all senses in the best way possible. Director, Max Webster has done a truly outstanding job.
Life of Pi truly makes the impossible seem possible – both reflecting in the play’s profound, life affirming message but also when delivering an intense, passionate and impressive piece of theatre. It quickly asks the audience to suspend their disbelief and embrace their inner childlike wonder, which is definitely reflected in the audience reaction to the piece throughout. The play delivers a message that life can and will be hard, which rings true. However, Life of Pi is truly the definition of the magic of theatre and how its escapism can transport us to other worlds and in this case, the middle of the Pacific Ocean surrounded by animals. We are incredibly lucky that a production of this scale and nature is touring regional theatres within the UK and Ireland.
Life of Pi runs at His Majesty’s Theatre, Aberdeen until Saturday 3rd February 2024 – with further Scottish dates in Edinburgh and Glasgow in June 2024.
Tickets available here: https://www.aberdeenperformingarts.com/whats-on/life-of-pi/
Theatre Scotland 
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