As someone with no prior knowledge to the revered Sanskrit text, this production was one that was highly anticipated by the people sat next to me as they’d confessed to having “seen Peter Brooks’ version” over a decade ago and were compelled to return to see it based on the story; this time, this iteration helmed by Canada’s Why Not Theatre company whomst we had no prior knowledge of. The Toronto-based company who made the Barbican their home for a week, with this juggernaut of a production, had a lot to live up to I’m told. The play is just short of five-hours and is split into two halves (something you’d only know if you’ve seen Harry Potter and the Cursed Child), so there is a clear commitment to the cause for repeat viewers of the origin story.
The storyline is complex, and the guidance of a printed family tree was much helpful in this production as there were lots of blood relations that needed to be kept abreast of. Think Succession with a bunch of deities, and you’ll be on your way to understanding the crux of this piece somewhat. In its simplicity, the tale is of two families who are fighting (or avenging) the loss that they’ve faced. It’s truly quite a layered and deep, meaningful plot that takes you out of reality and into the world of the Kauravas and the Pandavas. As you walk into the auditorium, you can hear classical Indian music being played; though the majority of musicians were of south asian heritage, I’d have been more more impressed if they were all of the heritage being displayed on stage given the strides elsewhere in the production towards greater inclusivity.
There’s an amalgamation of screens in the second act, alongside the pared-back scenery (think a revolve stage, without the revolve) as well as string that mimic snakes that is hoisted up and down. It’s a shame as the Barbican can produce some spectacular productions, and this wasn’t one of them. True, there are nice sets and costumes but the story moved at a glacial pace with confusion and irksome characters.
Where this piece affected me most was in the first act; one of the highlights was at the second part, titled Dharma, that included a 15-minute Sanskrit opera adaptation of the holy scripture. It was utterly beautiful to hear this, and to see the performer ever so slightly glide across the stage: the surtitles also helped to understand what was being sung, and I for once felt like I was transported to the Verona Arena. We’re told that the inclusion of poetry comes from Carole Satyamurti’s Mahabharata: A Modern Retelling, and this is the better parts of both halves.
Unfortunately, the narrative I struggled with, and felt lost at times as it was the sheer fact that the story was too elaborate, and could have benefitted from a cut in its run-time. Perhaps even a zooming in on a key characters and exploring them in more depth. In this time-poor world in which we operate, there was nothing new being created and the same point (or rather, same familial trope and scene) felt like it was being enacted on loop. Neil D’Souza excelled as Krishna and Darren Kuppan provided light relief in what was, on the whole, a very serious piece. I’d love to have seen them been given their own show as they ignited the stage with their presence; all in all, there were too many ideas being flown around which made this impossible to ignore when trying to be immersed by the talented cast on stage.