Step into the enchanting realm of “The Mongol Khan,” a theatrical spectacle as vast and thrilling as the Mongolian steppes themselves. It’s a show that’s impressive even for London Coliseum standards: over 70 performers showcasing a dazzling array of acting, contortionist acrobatics, intricate group choreography, sword fights, and wrestling, all unfolding on a colossal stage. Leave your typical theatre expectations at the door – this is more of a majestic cultural display (with scoops of drama added) than a classic night at the West End.
Unravelling Mysteries: The Hunnu Empire and Its Legends
First things first, let’s clear up any confusion – despite the title sounding familiar, this play isn’t about Genghis Khan. It takes us a thousand years back to the times of the Hunnu Empire, a mysterious group of nomadic states ruling the vast grasslands of inner Asia. No one knows if the Hunnu could write and no one recorded their language – what’s only known is that they were conquered by the Chinese in 89 CE. And this enigmatic time is where the action of The Mongol Khan takes place – it’s a story based on legends and myths.
A Legend Unveiled: The Story’s Origins and Surprises
So to answer one more question – if you’re a history or culture geek, this show may be quite a surprise. It’s not based on historical sources, instead it’s an original “legend” written in 1998 by a renowned Mongolian writer and poet Lkhagvasuren Bavuu.
The show’s wonderful costumes follow the cultural and historical origins, but you won’t find Archug Khan on Wikipedia. It’s more of a performance where you’re supposed to switch off your logical and analytical thinking and enjoy the ride of stunning music, dance and costumes.
From Simple Beginnings to Tragic Ends: The Tale of Archug Khan
The narrative begins simply and then evolves into a bloody tragedy. Archug Khan, the leader of the Hunns, has two Queens, Tsetser and Gurgel, both giving birth to the king’s sons within days. Doubting the paternity of Tsetser’s child, the Khan decides to pass his crown to Prince Khuchir, Gurgel’s son. What ensues involves swapped babies, changing the course of history, and, well, multiple deaths – I won’t spoil it all for you.
Visual Feasts and Imbalance: The Theatrical Elements
The story itself is a bit straightforward and lacking in twists for London’s West End standards. You won’t see much of emotional conflicts or complex plots. The best-written characters here were the Queens – they were the only characters who had a strong emotional connection with their sons, and I could feel their sadness when the plot developed in a tragic way.
The men, including the Khan, followed the path of no emotion, and just sacrificed for the “bigger thing”, but without more background, their emotional journeys almost didn’t exist.
The pacing of this epic tale is a bit like a slow-moving Mongolian critter in the first act. The whole “prologue” in the first hour could easily be a short intro. However, the second act dives into serious bloody drama, including plots, murders, and a skillfully performed “going to heaven” scene (the rope used to fly the actress into the ceiling was really well hidden in the scene set, bravo!).
The whole show felt a bit imbalanced, but I assumed the show’s creators wanted us to savour the costumes and dances first, before bringing in the galloping drama.
Harmonies of the Mongolian Storm: The Musical Landscape
And oh, the music! It starts as a gentle breeze and evolves into a full-blown Mongolian storm in the second act. Throat singing and ethnic instruments blend like a perfect bowl of buuz (Mongolian dumplings) – utterly irresistible.
It’s not a musical; instead, it’s a play with beautiful folk music, varied in tempo and intensity. The intensity remains high throughout – whether it’s a sword fight or a calm conversation between a husband and wife.
Nomadic Emotions: The Unique Acting Style
Now, the acting. It doesn’t exactly fit into the classic European school of acting frames. It’s over-the-top, but that’s the charm. Shouts, cries, and the clang of swords guide your emotions directly, reminiscent of a Turkish TV drama where every dialogue is an emotional rollercoaster.
Certain artistic choices seemed quite puzzling – like the skeleton-like costumes, I wasn’t sure why they ended up in two long scenes. Then script issues like judging a person suffering from epilepsy as “ill” and “unfit to be a king” may be acceptable in some cultures (and in the past, historically) but leaving such statements in the script in 2023 may be a questionable choice.
Artistic Puzzles and Mesmerizing Dances: The Visual Extravaganza
The dance spectacle is mesmerising. At most of the show, there was a huge dance ensemble on the stage, bringing the floaty, full-of-expression costumes with them. My absolute favourite part was the dancers wearing the tribal masks and costumes, bringing an air of mystery with their (what looked like) partly improvised expressive moves.
There were also huge wooden bird’s wings, gold-embroidered materials that swirled in the air, and quick changes, done to perfection in the middle of the stage (a group of dancers and the Queen suddenly changing dresses from plain red to white, in split second – that caught my breath away!).
The show boasts acrobatic contortionists, elaborate group choreographies in stunning costumes, and even a huge, red dragon designed by Nick Barnes, the puppeteer behind the beautiful “Life of Pi” puppets.
The philosophy of movement in Mongol Khan is to impress the audience in every scene – with the number of dancers, their movements, acrobatics… But as this philosophy continues, dancers follow the main leads even into 1-on-1 scenes, where they stand behind the actors, creating long, moving human lines, passing babies in the air or carrying the royal crown. As much as I enjoyed it, the drama of these quieter scenes could be displayed even better without a group of 20 dancers behind the leads at any given moment.
The Complete Mongolian Package: Horses, Selfies, and Impressions
But it’s not just about what happens on stage; it’s the whole Mongolian package. Horses trot in front of the theatre before the show, and during intermission, you get to take some selfies with beautifully adorned Mongolian ladies. As a whole, The Mongol Khan gives a truly royal impression and can make for an enjoyable evening – if you come with the right expectations and an open mind.
The Mongol Khan
Written by: Lhagvasuren Bavuu
English Translation and Adaptation by: John Man and Timberlake Wertenbaker
Directed by: Hero Baatar
Produced by: Bayra Bela (Bayartsetseg Altangerel); Unurmaa Janchiv
Costume Design by: Bold Ochirjantsan
Puppet Design by: Nick Barnes
The Mongol Khan plays at The London Coliseum until 2 December. Further information and tickets can be found here.
*I received the ticket in exchange for an honest review
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