Review of ‘The Anti “Yogi”‘: “Multi-limbed spectacle needs a little extra hand”

There’s no doubt about her flexibility onstage. Both as a performer and in any yoga position. She can also dance. And even play God. Literally, you shall see some interesting interpretations of how the Buddha and Krishna are supposed to talk. It’s all in good faith, though (no pun intended — well, maybe a little bit). This is a preachy show in every sense of the word. For better and for worse. And although it’s not perfect, it still has a voice, and it raises a few compelling questions about culture and its misrepresentation.

It all starts during a Yoga class… Mayuri, both writer and protagonist, isn’t happy with what she’s hearing. Anyone around her seems to think that yoga is just a bunch of stretching moves to achieve inner peace. Nothing further from the truth, however. Yoga is a mindset. A call to action. Something that nobody in Los Angeles appears to be aware of. Maybe it’s time she took matters into her own hands. And upon receiving a visit from Kali, whose long-tongued reenactment I shall never forget, she realises she can’t turn her back on the issue anymore.

It’s an educational piece. And that is alright. I may not go to the theatre to be lectured, but it’s refreshing to see a piece that celebrates somebody’s heritage by painting a broader picture of it. It triggers a craving for learning. And it makes the process highly enjoyable — even fascinating.

Its resonance travels beyond Indians. Anyone from a different background can relate to the misconceptions that the dominant culture might make about their identity. Not necessarily in an offensive way- I’ve had extremely amusing situations myself -, but in a manner that instigates a desire not only to verse them in our customs, but to let ourselves be enlightened, too.

That’s arguably the piece’s greatest strength, added to Mayuri Bhandari’s acting versatility and commanding presence, as well as the exquisite percussion-based soundtrack delivered live by Neel Agrawal, which demonstrates both authenticity of sound and narrative-driven approach.

It’s far from a fully accomplished effort, nonetheless. As much as the intention is solid and its core content is legitimate, the script comes across as an array of unrealised potentials. There is humour, but it’s not that funny. There is wit, but it needs to be sharper. And there is pathos, but it doesn’t strike us hard enough to make us feel for the character and the cause she is defending.

Bhandari can still pull it off thanks to her organic comicality and showmanship. Much like the deities she summons, she’s another force of nature. And such skills keep the viewer engaged despite the writing’s shortcomings. It’s not enough, though. There is as much as a performer can do with the material they’re given (even if they are the ones behind it), and the absence of elaborateness in some crucial aspects- particularly, an underdeveloped third act -, inevitably leads to a mild yet noticeable sense of void not even meditation can help us overcome.

There is a latent quality that permeates the entire play. And that’s what makes it memorable, and even haunting, despite its flaws. Yet, there’s much more than The Anti “Yogi” can offer once its execution embodies all the mantras of storytelling. There is thought. And there is soul. But a few other chakras are still waiting to be activated.

All pictures credit to AJV Fotoworks.

The Anti “Yogi” plays at London’s Soho Theatre until 16 May. Tickets are available on the following link.

By Guillermo Nazara