I first learned about The Mongol Khan when I saw the posters on the Tube in London. Due to my limited time on holiday, I had to pick and choose the theatre shows I watched, which meant I couldn’t factor this show into the trip.
So, when I heard about The Mongol Khan making its Asian debut in Singapore, I knew I had to go or miss out on yet another chance, and boy, was I glad I did.
Written in 1998 by acclaimed Mongolian writer Lkhagvasuren Bavuu, the production is a theatrical spectacle inspired by historical events, archaeological discoveries, traditional nomadic dances, and the music of the ancient Hun culture from 3,000 years ago.
Performed by an ensemble of over 70 actors, dancers and musicians, this stage production offers you an insight into the evolution of Mongolian culture that brings to life the gripping tale of a brutal succession within the Hunnic Empire which begins with a case of mistaken identity fuelled by jealousy and rivalry.
The Mongol Khan in Singapore is staged in two languages, namely English and Mongolian, and though my primary worry was the obvious language barrier, I thought it would be better if I caught the production in its original language. Besides, there is English subtitles available so I didn’t think it would be much of an issue.
Unfortunately, this became a bit of a recurring discomfort as the subtitle screens were located on the far right and left of the stage, making it a bit of a chore to have to swivel my head from the main stage to the closest screen, especially when seated in the centre of the theatre.
I eventually had to find a way to angle my head so as not to miss out whatever was on stage while I read the translation. But this to me, was a small price to pay, in exchange for a unique experience that went beyond the traditional sense of a theatre production.
The Mongol Khan was essentially one of those age-old power struggle for the throne plots but in a more nuanced sense when it came to the idea of putting country before self, even if it means having to kill your loved ones to ensure the safety of your kingdom.
When translated, the dialogue flowed much like poetic proses which were uncommon in theatre productions of today, and I felt that it was an important detail that reminded audiences that they were currently back in the past; in the days of empires and Khans.
This idea of a majestic Khan Empire was also portrayed magnificently by the actors, specifically the actress who played The Empress.
Her role, in my opinion, was probably one of the toughest to portray as she needed to switch emotions almost instantaneously whenever it came to a scene in the production where she was grappling with her moral compass.
The moment which struck me the most was when she found out that her son had been killed and that visceral scream that she let out really shook me to the core. In that short few seconds, I could feel her anguish and pain as she realised how her bad decisions had led to this outcome.
In addition to the brilliant character portrayals, I do have to acknowledge the clever use of stage with the added performers in a scene during a single person and two men dialogue.
I’m not sure if that was a deliberate choice on the director’s part but having the added performers on stage not only helped to fill out the otherwise empty space on stage, but also made the dialogue a lot more amplified, dynamic and impactful. Instead of having to picture how a character’s internal struggle looks like, we actually get to see it play out on stage.
This smart staging also translated during a transitional scene which showed the different ages of the princes.
From the gorgeous costumes to the music, stunts and flawless choreography, The Mongol Khan is an epic tale that transcends any language barrier with fantastic staging and acting that is bound to leave you with an unforgettable experience.
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