dianec42

Astounding.

That was what I turned and said to my wife at the conclusion of Life of Pi, which we just saw at the Ahmanson Theatre. That was an astounding production.

Life of Pi gets to the heart of what makes theatre both special and different from the cinema. The cinema is by definition realistic (unless you are dealing with animation). You see people and things in the real world, and often the conceits of the theatrical worse (such as people that sing their feelings or burst into dancing) just seem odd on the silver screen. Adapting a stage production for film often involves figuring out how transfer the limited stage elements into the real world.

Moving from film to the stage is a harder transition. You have to figure out what elements of the story translate. It is harder to establish settings, and to do transitions. The stage, moreso than any medium, requires imagination. It requires the audience to fill in the details, to translate from the limited physics available to the stage technician to the fully realized image.\

This brings us to Life of Pi.

Now, I’ve never seen the movie upon which this is based (well, that’s not true—I caught about 20 minutes of it, near the end, on TV recently). All I knew was that it was about a tiger and an Indian boy stranded on a boat together. The movie depended on cinema magic: creation of the boat, creation of the animals, creation of the magic. All this was doable for the screen with animation and green screens. Animation makes many things possible on the screen that can’t be done in real life. But how do you move that magic to the stage?

The answer was a combination of puppetry, projection, and choreography. Puppetry created the animals: from butterflies to fish to turtles to hyenas to zebras to giraffes to organatans to goats, and of course, to Richard Parker, a Bengal Tiger. Teams of puppeteers brought these creatures to life. The movement and the images brought the audience about 85% to the point of realism, and the mind filled in the rest. This included scenes like the evisceration of the zebra, which was done through sufficiently suggestive ribbons of red (and none of the wet gore that was seen in the Lt. of Inishmore). The second tool was projection: not just projections of the background, which is now common in theatre. There were projections on to the stage floor, which created the illusion of the ocean and the waves without a single drop of water.  This was combined with an almost poetic choreography that was constantly moving, pacing, flowing, with people raising things up and moving them down. Adding to this, unseen, was the work of the sound designers: the sounds of the ocean, the crack of the bones when the tigers and hyenas ate their prey, the breaths and the huffs of the animals. With all of that, the mind did what it does best: fill in the details with imagination, and the stage came alive thanks to suggestions of realism.

To put it another way: This production got you so engrossed in the story and the magic that you actually believed this was a young man and a tiger on the ocean. You believed there was an injured zebra.

Two comparisons for this show come to mind: The Lion King and Harry Potter and the Cursed Child. The Lion King brought astounding puppetry to the stage; when it came out, nothing like it had been seen. I’d argue that the puppets in Pi are direct descendants from those in Lion King: More articulation, and even more realistic movement. Harry Potter for the stage magic, and the intense creation of illusion of spaces.

This also means that Pi is a unique theatrical experience. Do not expect to see Life of Pi, at this level, at a regional theatre or on the small stage. This show may be a flash-in-the-pan: Unlikely to be remounted after the original tour. It is not the type of show that will have a long life at all the levels of the theatrical production tree: Jr. to Sr. productions, intimate theatres to regional remounts. This translates to the imperative: See this production.

You’ll notice that while I’ve been talking about the magic, I haven’t been talking that much about the story. I think that’s because, when you separate the story from the magic, there isn’t all that much there. Young man gets shipwrecked, does what he needs to do to survive.  There are philosophical comments about God. There are insights about survival, and about who the dangerous animals are. But the story seems to be less the point in this show. This show is about the journey: the journey from a small zoo in India and the subsequent survival.  You don’t walk out of the theatre astonished by the story of survival; you walk out astounded by the magic on the stage. It there is one drawback here, it is that: the story gets lost in the stagecraft. That’s what you remember from this production.

But, when you think about it, there is a philosophical point being made here. Near the end of the show, Pi is coerced into telling a different version of his survival—one that eschews the stories of the zebras, orangutans, and RIchard Parker for one that involves the cook, another sailor, his mother, and cannibalism. The folks interviewing Pi realize that the two versions of the stories have the same elements: four individuals, with similar plot beat points. They could be viewed as two different visualizations of the same story. The question is then asked: Which version is the better story? Which version do they want to be the story?

Perhaps that is the lesson from Life of Pi: How do we tell our stories, and which versions of the stories do we want to believe? The truth is often harsh and ugly. Perhaps the answer is to see the magic behind the truth.

Speaking of the magic behind the truth: What of the performers behind the stage magic. I’ve already talked about the talents of the puppeteers, who brought the animals to life. Savidu Geevaratne, as Pi, did a remarkable job with the character, bringing him to life and interacting with the puppets. Other characters had a lot less stage time, but I did quite like Sharayo Mahale’s Rani.

One last additional note: This week, CTG announced the One CTG season for 2025-2026. For a “one” season, it sure seemed like two seasons that were not talking to each other. I say this because the addition of the Taper is not coordinated with the Ahmanson subscriptions, and thus, for two of the dates (meaning four shows), the Taper and Ahmanson shows are on the same date and the same time. When this was brought to the attention of CTG subscription services, their response was that we can change the date when the window to change dates opens sometime in July, after all series subscriptions are processed. This is extremely poor care and feeding of subscribers: CTG should present subscribers with tickets that do not have date conflicts: it is their job to resolve the conflict initially if they created it. I’ll say it again: Broadway in Hollywood is an order of magnitude better in care and feeding of subscribers; the Ahmanson is better only in parking and accessibility. In this era where theatres must keep every subscriber, CTG seems to be doing whatever it can to lose its subscriber base. The new season is also “meh” in many ways: With the large number of excellent touring productions that Broadway in Hollywood didn’t choose (Water for Elephants, The Outsiders, Great Gatsby), what does CTG bring in? The Mamma Mia anniversary show. Big Meh. The Ahmanson also has something that BIH doesn’t have: the ability to mount its own productions. CTG could have brought in some of the productions that aren’t touring as remounts: How to Dance in Ohio, or Illinoise. They did this with Here Lies Love. But again, what do we get? A stage version of Paranormal Activity? CTG can do better.

Life of Pi continues at the Ahmanson Theatre through June 1. Tickets are available through the Ahmanson Website. It is well worth seeing for the astounding stage magic.

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Life of Pi. Based on the novel by Yann Martel, adapted by Lolita Chakrabarti. Directed by Max Webster; tour direction by Ashley Brooke Monroe.

Cast (underlining indicates individuals in the production we saw; greyed-out names indicates folks seemingly not in our show): Savidu Geevaratne Pi, Ensemble; Taha Mandviwala Pi, Toussaint Jeanlouis Cook, Voice of Richard Parker, Richard Parker/Puppeteer, Ensemble; Oge Agulué Cook, Voice of Richard Parker; Jessica Angleskhan Amma, Nurse, Orange Juice; Alan Ariano Mr. Okamoto, Captain, Jai; Pragun Bhardwaj Ensemble; Ben Durocher Cook, Voice of Richard Parker, Richard Parker/Puppeteer; Shiloh Goodin Richard Parker/Puppeteer, Ensemble; Anna Leigh Gortner Richard Parker/Puppeteer, Ensemble; Aaron Haskell Richard Parker/Puppeteer, Ensemble; Jon Hoche Richard Parker/Puppeteer; Rishi Jaiswal Mamaji, Pandit-Ji; Mi Kang Lulu Chen, Mrs. Biology Kumar, Zaida Khan; Intae Kim Puppeteer, Ensemble (Swing); Sharayo Majale Rani; Sinclair Mitchell Admiral Jackson, Russian Sailor, Father Martin; Maya Rangulu Ensemble (Swing); Betsy Rosen Richard Parker/Puppeteer, Ensemble; Anna Vomáĉka Richard Parker/Puppeteer; Sorab Wadia Father; Andrew Wilson Richard Parker/Puppeteer, Ensemble; Swings: Mahnaz Damania; Intae Kim; Maya Rangulu.

Production and Creatives: Tim Hatley Scenic Design, Costume Design; Finn Caldwell Co-Puppet Design, Puppetry/Movement Director; Nick Barnes Co-Puppet Design; Betsy Rosen Assistant Puppetry and Movement Director, Puppet Captain; Jon Hoche U.S. Associate Puppetry & Movement Director, Resident Director; Andrzej Goulding Video and Animation Design; Tim Lutkin Lighting Design; Tim Deiling Lighting Design; Carolyn Downing Sound Design; David Brian Brown Wig Design: Andrew T. Mackay Original Music; Jack Bradley Dramaturgy; Scarlet Wilderink Global Associate Puppetry & Movement Director; ARC Casting; Austin Wong Harper Lift Captain; Toussaint Jeanlouis Fight Captain; Bond Theatrical Tour Booking, Marketing, and Publicity; Katie Cortez Company Manager; Frank Deming II Assoc. Company Manager; Kelsey Tippins Production Stage Manager; Matthew Brooks Stage Manager; Fouad Hassan Asst. Stage Manager; Gentry & Associates General Manager.

♦ ♦ ♦

Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; The Soraya, and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending).

• May:  ♦ Spitfire Grill at Actors Co-Op; ♦ A Dolls House, Part 2 at Pasadena Playhouse.
• June: ⊕ ♦ Flower Drum Song at East West Players; ♦ Parade at CTG/Ahmanson; and possibly some Hollywood Fringe Festival shows.
• July: ♦ Hamlet at CTG/Taper; ♦ A Beautiful Noise at BIH/Pantages; ♦ Frozen at 5-Star Theatricals
• August: ♦ Some Like It Hot at BIH/Pantages; ♦ & Juliet at CTG/Ahmanson

This entry was originally posted on Observations Along the Road as An Astounding Story of Survival | "Life of Pi" at CTG/Ahmanson by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.