Review: AKRAM KHAN'S JUNGLE BOOK REIMAGINED, Sadler's Wells

In this contemporary dance version of the Rudyard Kipling classic, a grim future is played out against the backdrop of a climate crisis and mass human migration.

Akram Khan's Jungle Book reimagined moves the story of child Mowgli and her animal friends from a leafy jungle to an urban one. London is flooded and, escaping on a raft with her parents, our protagonist falls into the water to be rescued by whales. She arrives on dry land and is adopted first by a pair of wolves and then by a panther called Bagheera and Baloo the dancing bear. Mowgli is kidnapped by the bandar-logs and Bagheera and Baloo join forces with the deceptive snake Ka to rescue their human friend. A more dangerous foe, though, lies in wait.

Jungle Book's ambitious approach rolls in two key forms of exposition. Adam Smith and Nick Hillel of YeastCulture worked with Khan on Desh and their outline animations projected onto screens at the very front and back of the stage add real depth to what we see and to the story. Mowgli's near-drowning and her congress with elephants and monkeys are just two of the scenes played out beautifully, the large black-and-white images working well with the performances amplify and drive the story forward.

The emotional core of Jungle Book is felt through the voiceover text from Tariq Jordan spoken by around two dozen actors. As well as hearing Mowgli's thoughts, we listen as the animals speak amongst themselves. Baloo with his rambling East European accent and his over-inflated sense of self is a ever-sparkling source of humour pitched just right to appeal to both younger and older audience members.

With all that going on, there are times when the quality of the dancing is overshadowed but - this being Khan - there is much to enjoy in both the ebullient group scenes and the solo numbers. On all-fours, Holly Vallis' Bagheera is portrayed as a slinky panther who puts up with her ursine companion with world-weary patience. Tom Davis-Dunn lurches around as Baloo, chest forward and head back with vigour, purpose and (when required) not a little violence. The US-born Harry Theadora Foster stepping in for the injured Max Revell is outstandingly fluid and striking as the head bandor-log especially in the scene where we see how he was the subject of human experimentation and incredible torture. Jan Mikaela Villanueva as Mowgli doesn't have the central role accorded to other adaptation of Kipling's work but commendably the desperation, fear and determination that underpins her character's journey.

Aesthetically, there is quality across the board. Jocelyn Pook's score jumps from soothing beats to militaristic drumming with plenty in between to underscore the narrative elements and Khan's effusive choreography, as do the lighting and sound designs from Michael Hulls and Gareth Fry respectively which add an immersive level of atmosphere.

The decidedly bleak ending - Mowgli departing to find her own kind and the animals off on an ultimately futile search for higher and higher ground to escape the flood and hunters - is in line with the crepuscular mood of this haunting work. The blend here of dark and even darker themes is vaguely depressing but doesn't sell this premise short; not every story has a Disney ending and, if the end of the world isn't literally the biggest downer, then what is? There is ultimately only one law of the jungle and not even these animals can escape it.

Akram Khan's Jungle Book reimagined continues until 15 April.

Photo credit: Ambra Vernuccio

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