Sharing Mongolian culture through tricks and stunts and theatricality.

Theatre is and has always been a vehicle for connection, bridging cultural gaps through the power of performance. In the case of the nation of Mongolia, which is not only difficult to travel to and rarely features in mainstream media, a rare opportunity to get a glimpse into what the Mongolians hold dear emerges in the theatrical spectacular The Mongol Khan, which runs till this weekend at the Sands Theatre.

Adapted from a graphic novel by Lkhagvasuren Bavuu, and directed by Hero Baatar, The Mongol Khan is an epic three-act tragedy set 2,000 years ago, about the fictional ruler Archug Khan. His two queens, Tsetser and Gerel, both bore sons in close succession, yet a cloud of doubt hovered over the paternity of Tsetser’s child, before it is revealed that this child was born out of an affair with the Khan’s trusted advisor. What follows is a battle for the right to the throne, and with schemes afoot, begins a lengthy and bloody drama that paves the way for the true successor to finally ascend to his rightful place.

Performed in the original Mongolian language, the show’s narrative is complicated, and often, characters are reduced to a single role, without much depth to them. There is little reason to care about their struggles or empathise with their royal bickering, while we ourselves are often muddled in our own attempts to interpret why this conflict has dragged on for so long, alongside dialogue that feels stilted and forced, trying too hard to reach the grandiose for it to feel like it has any real emotions behind it.

What this show’s saving grace is then, is its sweeping attempt at theatricality, which feels akin to watching an epic battle unfold onstage. Choreographed by Bayarbaatar Davaasuren and Khashkhuu Khatankhuyag, The Mongol Khan is less Shakespeare and more Cirque du Soleil, with its massive ensemble evoking an army at war, utilising martial arts and swordplay to convey the ferocious emotions at hand. You can’t help but marvel at the ostentatious costumes, or the larger-than-life set pieces that make it feel like you’re swept up in something far bigger than an individual’s destiny – the fate of an entire empire resting in the result of this skirmish.

Beyond the movement, Birvaa Myagmar and Odbayar Battogtokh’s soundtrack pays tribute to traditional Mongolian music, including throat singing, bells and whistles – yet there is a touch of the modern, with a heavy beat that gives weight to the actors onstage, feeling like the warriors they portray taking every step seriously. Each of the intricately designed costumes by Bold Ochirjantsan

The music, composed by Birvaa Myagmar and Odbayar Battogtokh, combines traditional sounds of whistles, bells and throat singing with a heavy modern bass and a beat that give the effect of giants stomping across the stage. The costumes, designed by Bold Ochirjantsan, contain intricate details that pay tribute to Mongolian heritage and culture, with characters swathed in grand robes and thick armour, adorned with symbols that seem to suggest mystical protection, while grotesque spirits in fleshy bodysuits twist and writhe across the stage.

If The Mongol Khan is a symbol of Mongolian culture, then it is fascinating how it is both celebratory and condemning of its feudal history, the violence a clear violation of humane norms while elevating it to something almost beautiful through art and theatricality. You feel the heart that this team has poured into this work, hoping that by bringing it on a world tour, they are seen, acknowledged, and given the due attention they’ve been vying for as a respectable nation capable of producing art that moves and entertains. To that end we say, if you’re looking for an entry point into Mongolian culture, catch The Mongol Khan before it closes, and see what its people have to offer the world.

The Mongol Khan plays till 3rd November 2024 at the Sands Theatre. Tickets available here