“A most visually epic magnitude of storytelling. A cultural, spiritual and religious sacred space. Sumptuous and Grand. It will take time to understand the play’s impact.”

The Sanskrit epic ‘Mahabharata’ is 4000 years old. Divided into two parts (Part 1 KARMA: The Life We Inherit and Part 2 DHARMA: The Life We Choose), The Canadian Stage production has been divided into two parts with the titles listed above. The running time is nearly five hours and chronicles a family feud marked by revenge, responsibility, and peace. This latter quality is particularly emphasized in the final moments of Part 2. By the end of the five hours, the audience has embarked on a journey that explores profound spirituality and philosophy.

It's also exhausting if you don’t take a break for at least one to two days between the two. In his program note, co-writer and production director Ravi Jain stated that it’s rare to experience the play from beginning to end in one day, as it requires time and perspective.

I couldn’t agree more with you there, Ravi.

I devoted the first Saturday of the show’s run to experiencing the entire five-hour production.

I shouldn’t have done that.

‘Mahabharata’ is a massive behemoth, exquisitely staged and occasionally overwhelming to the senses for its occasional opulence in visual and auditory qualities.

A word of advice: See it on different days. Allow it to sit with you. I’ve been doing that with other productions. I sit before I begin making any comments.

The plot is intricate and complex in both parts. I’ll try to maintain simplicity for understanding.

In Part One, King Janamejaya (Ravin J. Ganatra, who plays Dhritarashra) is holding a ritual sacrifice in which he will kill all the snakes in the world to avenge his father’s death. In hopes of ending this cycle of revenge, a storyteller (Fernandes) is summoned to tell King Janamejaya the tale of The Mahabharata. The storyteller tells of the rival Pandava and Kaurava clans and the choices that lead to their infamous Game of Dice.
Part Two details the aftermath of war that hangs in the air at the conclusion of Part One.

The tale centers on the five Pandava brothers and their cousins, the Kauravas, led by the eldest, Duryodhana (Darren Kuppan). Animosities have been brewing for years within the family. Duryodhana and King Dhritarashtra (Ganatra) sent the Pandavas into exile for twelve years to secure a place on the throne for the Kaurava prince. Yudhishthira (Shawn Ahmed), Bhima (Munish Sharma), and Arjuna (Anaka Maharaj-Sandhu)- plot their revenge.

Visually, the production is stellar, most notably in Act One. In Part Two, a series of grand projections hang overhead the performers.

There’s a sense of entering a cultural/religious sacred space in Part 1 at the Bluma Appel courtesy of Lorenzo Savoini’s set design. It doesn’t appear grandiose, but what is placed on the stage amply fills it. Performers who play instruments sit upstage. A large circle of red sand is on the floor. There are moments when the performers will walk through the red sand. Open flames become of tremendous importance as the story continues.

The same cannot be said for Part 2’s design. Savoini’s approach indicates that modern elements are infiltrating this 4000-year-old epic poem. For instance, Hana S. Kim’s projections hover over the action occurring on stage. There are computers. It subtly juxtaposes linking cultural, religious, and spiritual recognition from the past to the present.

Kevin Lamotte’s lighting is a visual delight, and Gillian Gallow’s costumes are awe-inspiring. Throughout Parts One and Two, Brandy Leary’s succinctly choreographed movements certainly capture the eye. John Gzowski and Suba Sankaran’s original music and sound design are extraordinary.

Ravi Jain pays close attention to direction when blocking the characters and their entrances and exits. John Gzowski and Suba Sankaran’s original music and sound design are extraordinary.

Co-creator Miriam Fernandes acts as the storyteller for both parts. Her performance is mesmerizing, captivating the audience from the moment she speaks. She stands out - clear and concise, carrying herself purposefully and intentionally throughout the five-hour runtime.

A final thought: Although it was dark in the auditorium, there was a line from one of the characters that struck me. I had written it down quickly. Yes, it wasn't easy to do, but I think I got it:

“War is inevitable when the truth cannot be agreed upon.”

I still think about that line even two days after seeing the production. I couldn’t help think about this application today. Of which truth does this line speak – objective? Subjective? My truth? Your truth? Whose truth?

Terrifying to think how we cannot seem to answer this question today.

‘Mahabharata’ is worth a visit, but do it in two, not one like I did. I was exhausted at the end.

Running time:
Part One – two hours and 20 minutes with one intermission
Part Two – two hours and 10 minutes with one intermission.

The final performance of ‘Mahabharata’ concludes on April 27. All performances take place at the Bluma Appel Theatre, 27 Front Street East, Toronto. For tickets, canadianstage.com or call (416) 368-3110.
MAHABHARATA
Written and created by Miriam Fernandes and Ravi Jain, using poetry from Carole Satyamurti’s ‘Mahabharata: A Modern Retelling.” Originally commissioned by the Shaw Festival in association with Barbican, London.

Directed by Ravi Jain