The festive season is a time when audiences are conditioned to expect no more than by-the-numbers lightweight entertainment. It is admirable that The Lowry takes a contrary position and stages the intellectually and emotionally demanding Life of Pi as its seasonal offering.
The title character can be male or female as, of the three actors alternating in the role, two are female. All are new to their profession and two are making their debut or have just graduated from drama school. Tonight, Tanvi Virmani, who takes the title role, is relatively a veteran having previously acted professionally on stage.
In Mexico,1978, two bureaucrats interrogate 17-year-old Piscine ‘Pi’ Patel (Tanvi Virmani), sole survivor of a shipwreck. She shows all the signs of being traumatised by her experience including hording food, but her tale is so fantastic as to raise doubts about its authenticity. According to Pi, she survived 227 days at sea in a lifeboat in the company of, but without being devoured by, a Bengal tiger. But, as Pi learned at an early age, there are often many sides to a story.
Impressively, Lolita Chakrabarti’s adaptation does not shy away from the theological aspects of Yann Martel’s novel but gives them a light, refreshing tone. The restless and endlessly curious Pi flirts with a range of religious faiths before concluding they are all telling the same story but from different viewpoints—an approach which comes in handy when under interrogation. The adaptation is a superb example of economic storytelling; the young age of the protagonist allows Pi’s schoolteacher to pop up in her imagination and offer advice when needed. The only aspect of the adaptation which appears rushed is towards the conclusion when an island adventure is described, not shown, and the underlying reasoning behind by Pi’s story is explained rather than trusting the audience to reach a conclusion.
No one seems to have told Max Webster he is directing a thoughtful piece of work, as he proceeds as if Life of Pi is a thriller. Plot developments are frequently emphasised by Andrew T Mackay’s dramatic, even melodramatic, score and act one ends on a genuine cliff-hanger. Webster does not overlook the emotional aspects of the play; the strong sense of community developed in the opening scenes emphasises the prejudicial treatment experienced by Pi’s family upon boarding a cargo ship and the terrible loss suffered by Pi herself.
The staging is distinctly old-school. Rather than rely upon mechanical devices, scenes such as Pi being thrown into a lifeboat are achieved by members of the cast lifting the actor onto the prop in slow motion. The dramatic storm at sea is simulated by Andrzej Goulding’s video designs and Tim Lutkin and Tim Deiling’s atmospheric lighting.
Webster does not shy away from the brutality endured by Pi. One may question if scenes of the Bengal tiger eviscerating a living zebra are suitable for young audiences, but they fit in with a stark approach to nature established to stunning effect in an early scene. The introduction of the Bengal tiger (named ‘Richard Parker’ due to a bureaucratic error) is unforgettable. In order to teach his headstrong daughter the need to take precautions around wild animals, Pi’s zookeeper father feeds a family pet to the beast. The Richard Parker puppet, designed by Nick Barnes and Finn Caldwell with movement directed by Tim Hatley, is the personification of lethal grace and makes a shocking but lasting impression.
Tanvi Virmani is a superb heroine, endlessly curious and constantly willing to challenge the status quo. Virmani gives Pi the emotional and psychological resilience to survive her ordeals while retaining her humanity.
In the opening scenes, Pi proclaims her story will make listeners believe in God. Well, perhaps not, but Life of Pi will certainly show audiences what can be achieved in theatre.