Review: LIFE OF PI at Des Moines Performing Arts

Stories are not just narratives, they are powerful tools that shape our understanding of the world. They can be about the legacy a person leaves, they can excite us about what is to come, or they can help us process the events in our lives. But most importantly, stories leave us with questions, sparking our curiosity and imagination. It's fitting that 'Life of Pi' has embarked on its journey to Des Moines Performing Arts as part of the Willis Broadway Series, running through March 2, a testament to the enduring power of storytelling.

What makes the story of a journey so fitting right now? An announcement was made this week that Des Moines Performing Arts President and CEO Jeff Chelesvig will be retiring this August.  As he leaves, we look back at the legacy of these 30 years and the shows and series he has brought to Des Moines, including the national tour debuts of several shows. Des Moines Performing Arts will start a new journey as they look for their next President and CEO.  This story leaves us questioning what is next for Des Moines Performing Arts.

We also look forward to more new stories being told on the Civic Center stage.  While we currently have "Life Of Pi" and other shows to look forward to, we also get to look towards a new season. Des Moines will announce its 2025/2026 Willis Broadway Series on Tuesday, March 4, at 10:00 AM. If you want a fun glimpse into what stories might be told on the Civic Center stage this next season, head to the Des Moines Performing Arts Facebook page and look at the drawing clues about the upcoming shows.

What is the story being told by "Life of Pi." That answer is twofold.  First, it is the story of Pi's journey from India to Mexico. His family owns a zoo in India.  When the safety of the family and their zoo becomes an issue, Pi's father decides to load the family and the animals on a boat to leave for Canada. When a storm hits and causes the ship to sink, Pi survives by getting on a lifeboat.  After being stranded at sea for two hundred and twenty seven days, his boat washes ashore in Mexico. The story of how he survived becomes a story about how he processes the events.  We are left with two different versions of the story, one a literal account of events and the other a more metaphorical interpretation, and ask ourselves which is true and which we would prefer to be true.

As the curtains rise, we are transported into a world of transformation, brought to life by the scenic design of Tim Hatley and the Video and Animation Design by Andrezej Goulding.  The set and projections work in harmony, seamlessly transforming the stage from a hospital to a zoo, from a cargo ship to a lifeboat, and back again. It's a mesmerizing spectacle that leaves you questioning the boundaries of reality, wondering if you're truly in these places or still in the hospital room. This transformative power of the set is further enhanced by the use of puppets to tell the stories we see on stage.

Another way the show makes us question what we are seeing is by using puppets to tell the stories we see on stage. The puppets, co-designed by Finn Caldwell and Nick Barnes, are a mix of hand-held puppets and puppets that take multiple people to control. I found myself stunned when these huge, life-size animal puppets were brought onstage, and I would find myself seeing the puppet as a character and not the puppeteers.

When telling stories, you need someone who can capture the imagination and transport you to the worlds within the story. Taha Mandviwala, who played Pi at the performance I attended, did an exceptional job bringing life to the story being told. He took on the daunting task of making the puppets seem just as real as the human characters on stage with whom he interacted.

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