‘Life of Pi’ at Fort Worth’s Bass Hall a story of survival and much more
There are many ways to learn lessons and strengthen character in this life.
Being stranded at sea on a lifeboat with a Bengal tiger doesn’t necessarily sit at the top of most people’s list.
But then, it’s rare when we get to decide moments of internal testing. Fortitude tends to rise during intense situations — and it doesn’t get any more intense than trying to stay alive in a setting where your boatmate sees you as lunch.
Such is the case for the title character in “The Life of Pi,” the latest production in Performing Arts Fort Worth’s Broadway at the Bass Series. The show is at Bass Hall through Sunday, Sept. 28.
Based on Yann Martel’s bestselling novel, which became an Oscar-winning film directed by Ang Lee (who won one of those Oscars), the play has, likewise, been extremely well-received. The Broadway production won three Tony Awards and the London West End production received five Olivier Awards.
The Olivier honors included an unprecedented Best Supporting Actor award to the puppeteers who operate the tiger named Richard Parker (named so because of a clerical error in filing after his capture). And they are indeed nothing short of spectacular.
The story, set between 1976 and 1978, involves a teenager from India named Pi Patel (played to perfection by Taha Mandviwala), telling his story of survival to a couple of investigators from the Japanese Ministry of Transport (played by Alan Ariano and Mi Kang). As he reveals the details he finds himself reliving the ordeal, which was both harrowing and spiritually awakening at the same time.
Pi’s family owns a zoo. When the family must relocate because of political turmoil in their country, the only place they can get visas approved is Canada. So they load the animals on a cargo ship and set forth.
After a storm forces the ship to wreck and sink, Pi finds himself stranded at sea in the Pacific Ocean, his family having all drowned. He’s not alone, however, as a zebra with a broken leg, an orangutan and a hyena find their way on the boat with him.
The hyena kills the zebra and the orangutan. Then, as the first act comes to a close, we discover another guest on the boat — Richard Parker emerges from hiding and kills the hyena.
To stay alive, Pi must now find a way to co-habitate with a companion who has other ideas, such as devouring him. Instead, however, the two end up surviving together for 227 days.
The number of days they are at sea together, by the way, is a mathematical approximation for Pi as 22 divided by seven equals 3.14. Pi itself is an irrational number with a decimal representation that goes on forever without a repeating pattern.
In other words, it is unique, very much like the scenario our play’s hero finds himself in.
Those aforementioned puppeteers use a form known as Bunraku, a traditional Japanese style that dates to the 17th century in Osaka. There are multiple people operating a single puppet, with the puppeteers in plain sight of the audience.
Interestingly, that adds to the believability as the animals appear even more real and emotions come across even stronger. It’s an art form whose beauty is matched by its mastery and it’s easy for the audience to get lost in the brilliance that is happening before their very eyes.
While not a musical, the show does feature an extraordinary musical score that perfectly accompanies magnificent visuals. Together they bring out a plethora of sensations as the story unfolds.
Some of the greatest spectacles come during moments when Pi has visions of folks he once knew giving him advice as he floats at sea, including his mother (Jessica Angleskhan), father (Sorab Wadia) and sister (Sharayu Mahale). Also, the scene where Pi hallucinates blindness and a talking Richard Parker (in French, oddly) is terrific.
“The Life of Pi” is certainly a survival story, but it’s also so much more. It’s a testament to everything Pi has been studying and believes spiritually.
For example, Pi does not believe in taking a life under any circumstances and is a devout vegetarian. He feeds Richard Parker fish while he himself eats seaweed, and when he finally does break down and kills a turtle for himself and the tiger to share, he is filled with remorse.
Raised Hindu, Pi is curious and has not bound himself to any religion. He simply wants to love God and connect with him — something that is certainly enhanced when death is pacing just a few feet away.
Pi and Richard Parker form a bond of sorts. In an odd way, each seems to come to realize that the survival of each is good for both.
Mandviwala never leaves the stage, so the story — if you’ll pardon the pun — swims or sinks with him. Still young in his acting career, this masterful performance appears certain to lead to even greater things.
Ultimately, “The Life of Pi” delivers a message that we never know what difficulties life will throw at us, and whatever they are we must do all we can to survive. As his father says to him early in the show, “Life will defend itself, no matter how small it is.”
It is a story of faith — both in oneself and a higher power and understanding that this combination can help us overcome virtually any challenge.