The Mongol Khan

by Lkhagvasuren Bavuu

adpated by Timberlake Wertenberker

Sands Theater, Marina Bay Sands, Singapore

This is quite likely the first Mongolian theatrical epic to make its way to Singapore. Last seen in London in late 2023 where it garnered appreciative reviews, it makes for quite a change from the glossy Anglophone musicals that tend to feature at Marina Bay Sands. 

Adapted by award-winning playwright Timberlake Wertenberker from a three-act tragedy by Lkhagvasuren Bavuu, this tale set 2,000 years ago centres on the fictional Archug Khan (Erdenebileg Ganbold), the mighty king of the Hunnu Empire. Two sons, Achir (Dorjsuren Shadav) and Khuchir (Samdanpurev Oyunsambuu) are born to him just days apart - one from his estranged queen Tsetser (Uranchimeg Urtnasan) and the other from his consort Gerel (Dulguun Odkhuu). Who will be the rightful heir to the throne? Throw in an adulterous liaison, a dastardly advisor Egereg (Bold-Erdene Sugar) and some baby-swapping and we have a whirlpool of deception and intrigue that continues into the next generation. 

There are shades of Shakespearean tragedy here, from the vaulting ambition of Macbeth to the green-eyed jealousy of Othello to the bitter self-loathing of Richard III. Yet one remains genuinely surprised by the bloodshed that ensues; virtually everyone has perished by the end, including a parent having no qualms in murdering their own child. All are left with is a final image of the king, standing supreme at having finally cleansed his bloodline. It paints a rather chilling portrait of ancient Mongolian culture and the odious, misogynistic characters don't make the events any easier to swallow. 

This is probably not going be a show for children given all the violence (and some gratuitous references to lovemaking and breast milk) but it makes for a fascinating watch nonetheless. The rather wordy, pompous surtitles are likely to alienate some audience members but the plot is hardly of much consequence here compared to the overall experience. 

Photo Credit: The Mongol Khan / Katja Ogrin

And indeed, The Mongol Khan truly delivers the spectacle it promises. Director Hero Baatar works with over seventy performers and musicians who engulf the stage. They serve both as extras and bodies amplifying the actions of the main characters, giving the show a genuine sense of scale and grandeur. There are uniformly strong performances from the principal cast with especially powerful, spine-chilling work from the actors playing Tsetser and Egereg. 

The show feels like The Lion King one moment and Cirque de Soleil the next, with dazzling acrobatics, puppetry and choreography. There are beautifully ornate costumes including richly embroidered gowns and headpieces, multi-coloured skirts and exquisitely painted masks. All this takes place over the majestic backdrop of the moon, depicted on a series of bright colours that bleed over the action. The light and sound effects are admittedly on the nose, echoing every significant moment in the text, but they do a good job in grabbing one's attention. The experience is slick, smooth and cinematic. 

Those looking for nuance may not find it here. However, if you surrender yourself to the sheer vitality of the performers and the stupendous stagecraft, there is a lot to enjoy from this Mongolian melodrama. A curious yet culturally rich offering that proves a sumptuous feast for the senses.

The Crystalwords score: 3/5

*This show is performed in both Mongolian and English with separate principal casts. Names of actors here reflect the Mongolian cast.