Without our young hero's childlike wonder, Martel's story would not make a lot of sense and that wonder is recreated in Tim Hatley's extraordinary set. Pi, meanwhile, scoffs at agnosticism because it's 'a way of life that chooses immobility as a mode of transport'. Conflicts between Hinduism, Islam and Christianity are resolved by asking: 'Which is the better story?' Nor does Lolita Chakrabarti's adaptation lose sight of the play's spiritual quest. Then the walls open out to reveal a teeming Indian market, and a busy zoo stocked with lifesize puppets - including two zebras, one hyena, an orangutan mother and cub - and the story's famous, full-size, man-eating big cat. The story of the Indian boy, cast adrift on the Atlantic Ocean - with a Royal Bengal tiger as shipmate - starts in an unremarkable, white-walled hospital, where Pi is being questioned about his remarkable survival. Geometrical shapes on the floor open as trapdoors for the hold of the stricken ship, and the lifeboat that rises up for Pi's voyage
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