Review: MAHABHARATA: PART 2 DHARMA - THE LIFE WE CHOOSE at National Arts Centre

Last week I saw the first part of Why Not Theatre’s Mahabharata at the National Arts Centre, an epic play based on an ancient Sanskrit story. Part 1 - The Life We Inherit introduced us to the many characters, built up tensions and rivalry, and prepared us for the inevitable clan war to come. I was captivated by the immersive storytelling experience, the complexity of the characters, and the use of traditional dance to supplement the narrative. Nearly a week later, I wasn’t sure if Mahabharata: Part 2 Dharma - The Life We Choose would be able to recapture the magic. 

The moment the curtain rose, I was back in front of the fire in ancient India and immediately re-immersed in the tale woven by the storyteller (Miriam Fernandes, associate director and co-playwright with Ravi Jain).

At the outset of Mahabharata: Part 2, the Pandavas are at the end of a thirteen-year exile and intend to reclaim their half of the kingdom, preferably while maintaining peace. Their Kaurava cousin, Duryodhana (Arun Varma), refuses to cede despite multiple entreaties by Krishna (Neil D’Souza), King Dhritarashtra (Ravin J. Ganatra), and Bhishma (Sukania Venugopal). It becomes apparent that war and bloodshed will be the only way to resolve this conflict.

Krishna tries one last time to convince Karna (Navtej Sandhu) that peace is preferable to war, and urges him to change his affiliation before it is too late. The Bhagavad Gita appears alongside Krishna and Arjuna (Anaka Maharaj-Sandhu), encouraging him to perform his duty (dharma), while providing insight and guidance. In Mahabharata Part 2, the Gita is gloriously performed by Meher Pavri in its original language as a classic opera, using both baroque and classical Indian styles. The contrast of the Gita in the middle of the play is one of the most mesmerizing things I have ever seen on stage.

There is also increased use of projections (by Hana S. Kim) in the second part of the play, as well as more elaborate props and settings (set design by Lorenzo Savoini). The pre-battle negotiation utilizs web cams on the table, with the camera feed airing on screens above the stage, broadcasting in high contrast black and white, giving a cinematic feel to the scene.

The battle incorporates highly stylized action sequences with a warrior dancer (Jay Emmanuel) in the middle of the battle circle (choreography by Brandy Leary) and this is a surprisingly effective way to convey the horrors of war.

The story's conclusion brings the audience full circle, concluding that there are never winners in war, even for the so-called victors. Despite the story being thousands of years old, the lesson is worth repeating and is still all too relevant.