Reviewed by Kate O'Sullivan
Why Not Theatre’s take on The Mahabharata is an absolute powerhouse of a production. Created by Ravi Jain and Miriam Fernandes, this adaptation trims down the massive 3rd-century BCE Hindu epic—originally over 90,000 rhyming couplets—into two full-length performances: Karma (Part I) and Dharma (Part II). With about five hours of stage time in total, watching both parts back-to-back makes for an intense, immersive experience. But if that sounds like too much in one go, you can always split them up across different days, which gives you time to really sit with Part I before diving into Part II. And if you’re up for it, there’s even an optional meal break in between the two shows on the same day, where you can chat with fellow audience members about the play’s big themes over some good food.
Rather than going for an over-the-top, opera-style spectacle, this version takes a more modern and introspective approach. At the core of it all is the Storyteller, a wise and commanding presence who reassures the audience that they don’t need to stress about keeping track of every detail. Instead, she invites them to simply let the story wash over them, emphasizing that “within the river of stories” lies something deeper—a form of wisdom. This isn’t just a tale of kings and warriors; it’s a deep dive into human contradictions, moral dilemmas, and the messy nature of right and wrong. The play wrestles with the idea of dharma and morality, showing how blurred those lines can become, especially when family betrayal and violent consequences come into play.
The storytelling shifts fluidly between different styles, starting with a lone Storyteller by a fire and then expanding into street theatre, classical Indian dance, and Western-style drama. The cast is made up of 17 actors and six musicians, all from the Indian and South Asian diaspora, making this the first major international adaptation led by artists of Indian heritage. Their diverse backgrounds add incredible depth to the performance. Visually, the show is breathtaking— intricate interactive sets, vibrant costumes, dynamic lighting, and the addition of giant LED screens in Dharma all enhance the experience. That said, in Part II, some visuals on these screens were blocked by chandelier elements on the set, which was distracting at times.
Movement in the production is pretty minimal—dialogue is often delivered with little physical emphasis, except in the combat scenes. But the show finds a good rhythm by alternating between text-heavy moments and movement-based sequences. Interestingly, the fight choreography leans more towards mixed martial arts rather than traditional Indian styles, which gives the action a raw, animalistic edge. When classical Indian dance does appear, it’s used sparingly but effectively. Ellora Patnaik’s use of Odissi dance, with its precise, twirling gestures, adds a graceful layer to key moments, while Jay Emmanuel’s kathakali performance, with its dramatic facial expressions, brings an eerie intensity to dark prayer scenes.
The music in this production is just as eclectic as the storytelling. Traditional Indian sounds—tabla, Carnatic vocals—mingle with an unexpected mix of metal-infused jazz fusion. Amplified strings and electric guitar often take centre stage, giving the show a charged, contemporary feel. The presence of live musicians in Karma adds an engaging energy, and their absence in Dharma, while understandable due to space constraints, is definitely felt. The grand finale, a beautiful 15-minute operatic rendition of the Bhagavad Gita, performed in Sanskrit was haunting.
Despite tackling some pretty heavy themes, the production finds space for humour. The Storyteller is the heart of the show, the one truly compassionate figure urging the audience to break the cycle of vengeance and consider the nature of justice. And Krishna’s comedic moments in Part II provide a much-needed break from the intensity without feeling out of place.
Why Not Theatre’s Mahabharata is a bold, smart, and visually stunning take on an ancient classic. It doesn’t go for over-the-top dramatics but instead delivers a timeless story in a way that feels fresh and relevant. Ambitious, beautifully executed, and deeply thought-provoking, this production is a standout at this year’s Perth Festival.
Reviewer Note: Tickets for this review were provided by Perth Festival.
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