Innovative puppetry and distinctive set design: Life of Pi delivers a visual feast.

This question, posed by the play’s protagonist Pi, to the Japanese investigators delving into his extraordinary tale of survival at sea with only a Bengal tiger for company, sets the stage for a unique theatrical experience.

Having seen this performance directed by Max Webster featuring animals captured by puppetry, I would say with animals.

This adaptation of Life of Pi from Lolita Chakrabarti flips the narrative backwards and forwards through time, from the stark Mexican hospital where Pi recuperates from his survival ordeal, to the Pondicherry Zoo where his adventures begin, the voyage to Canada on the fated ship Tsimtsum and the 227 days he is stranded on the lifeboat with a tiger Richard Parker.

The production brilliantly captures key moments from the book by Yann Martel, through a blend of visual and auditory elements, crafting scenes that delight the senses.

The puppetry is particularly noteworthy, from a trio of puppeteers bringing a seasick tiger to life in a manner that’s both magical and immersive to the scenes of marauding flying fish to a dying zebra with his guts dispelled over the life raft.

The emotional impact of the puppetry packs a punch. The fate of the zebra and goat, draw palpable empathy from the audience. A young boy seated near me was so moved by the zebra’s demise at the hands of the manic hyena that he sought comfort in an ice cream and cuddle at the interval.

The first half of the show is a sensory delight, bringing the Pondicherry zoo to life with its array of animals skilfully captured by puppeteers. The scene in which Pi’s father feeds a goat to the tiger is particularly stirring, showcasing the power of puppetry to evoke an emotional response.

Driven by political instability, the Patel family decide to move to Canada via a cargo ship. The transition from the Patel’s family vibrant life in India to the stark reality of survival at sea is handled with seamless ingenuity by set designer Tim Hatley. One moment we are immersed in the bustling streets of India, and the next, we’re aboard a grey, metallic cargo ship adrift in the vast ocean. The swift scene change is a testament to the production’s clever design and direction.

The story progresses to Pi’s confinement aboard a life raft with a Bengal tiger in the second half with the return of Pi’s family in spirit to offer guidance and the puppeteers bearing wielding sealife, breaking Pi’s confinement.

The actors demonstrate their craft admirably with praise to Divesh Subaskaran’s portrayal of Pi as an ingenuine innocent whose survival instinct drives him to survive; overcoming his aversion to eating animal flesh, to dominating a tiger whose presence ultimately becomes his rock.

The uniqueness of Martel’s novel is the deep dive into the themes of zoology and theology exploring the intricate connections between animals and humans and into the intricacies of religions.

The stage adaptation offers snapshots of these subjects through its visual storytelling and dialogue. Although it doesn’t fully explore the novel’s captivating themes, it provides a taste, sparking curiosity and prompting further reflection.

A set-driven production this adaptation of Life of Pi immerses the audience in an experience that pushes the boundaries of theatrical artistry creating a unique tapestry.