A pair of extraordinary components make the new spectacle show “Life of Pi” seaworthy: beautiful projections, and a better-than-necessary lead efficiency from the sensational Hiran Abeysekera.
2 hours and quarter-hour, with one intermission. On the Gerald Schoenfeld Theatre, 236 W forty fifth Avenue.
Working in tandem throughout the second act, when teenage Pi is adrift within the ocean with solely harmful zoo animals to maintain him firm, these fantastical photos and Abeysekera’s boisterous power create second after second of theatrical magic.
They’re sequences of pure motion and ingenuity in director Max Webster’s manufacturing that don’t depend on dialogue or plot to thrill us, solely sheer emotion and awe. Not not like an “Avatar” film.
Nevertheless, not all of “Pi,” which opened Thursday night time on Broadway, packs that very same stirring visible punch.
The play — tailored by Lolita Chakrabarti from Yann Martel’s novel, beforehand become Ang Lee’s Oscar-winning film — begins off as a reasonably easy, wonkily written drama that takes some time to kick in.
Shy Pi (Abeysekera), hiding below a hospital mattress in Mexico, tells investigators how his childhood in Pondicherry, India, led to him being the only survivor of a tragic shipwreck.
On one hand, the primary half of Act One could possibly be known as “The Boring Bit Earlier than the Boat,” hampered by so-so ensemble appearing and swiftly shot-off expository dialogue.
However, these early scenes introduce the principle purpose for the story’s existence: faith.
Precocious Pi (quick for the French phrase “piscine,” that means “pool”) confuses his mother and father and the neighborhood when he attends a Christian church, a Muslim mosque and a Hindu temple all on a single Friday and concludes every is telling a model of the identical story.
In fact, by the point we’re watching a Bengal tiger dramatically working on water, we’ve forgotten the prayer half.
Pi’s pop owns a zoo, which is the place we first meet the ferocious tiger that’s amusingly known as Richard Parker.
All the puppets, by Nick Barnes and Finn Caldwell, have the engaging, island-merchant look of painted driftwood, however fall in need of being plausible.
Whereas the puppetry is doubtlessly effectively performed, my thoughts stored wandering to 2011’s “War Horse,” one other London import whose manipulated equines have been jaw-dropping and lovable characters in their very own proper. The “Pi”-pets are pretty, too, simply not a wow.
Throughout a interval of political unrest in India, Pi, his household and their animals depart for Canada aboard a ship — alongside a vulgar French cook dinner and rowdy sailors.
Once they’re caught in a storm and the ship sinks, solely Pi survives, floating in a lifeboat with an orangutan named Orange Juice and snarling Richard Parker.
His scrappy vessel impressively pops out of the stage (the set is by Tim Hatley) and is surrounded by Andrzej Goulding’s crisp movies of idyllic blue water.
Too typically in stage performs projections merely distract from flesh-and-blood actors, however Goulding’s marry completely with Hatley’s set and Abeysekera’s playfulness.
(With photos projected straight onto the stage, “Lifetime of Pi” is greatest seen and appreciated from the mezzanine.)
Pi fights like hell to outlive, regardless of hunger, dehydration, delusions and, you recognize, that tiger over there.
Abeysekera’s enchantment actually is as limitless as 3.14159. The actor, making his Broadway debut, has the fast curiosity of a teenager, however incongruously speaks in a sonorous voice that may change from profound to hilarious with the velocity of a Bengal tiger.
Even surrounded by a sea of tech, puppets and hydraulics, he has whole command of the stage.
That’s important. In any case, it’s not known as “Lifetime of Projector.”
