“It feels like a dream every time I get to sing it,” says Meher Pavri of her role as the Opera Singer in Mahabharata, Why Not Theatre’s epic reimagining of the ancient Sanskrit epic. For the Parsi-Canadian soprano and actor, the experience has been nothing short of transcendent.
This contemporary adaptation of the ancient Mahabharata—a foundational text of Hindu mythology and one of the world’s oldest epics— is written and adapted by Miriam Fernandes and Ravi Jain, with poetic contributions from Carole Satyamurti’s Mahabharata: A Modern Retelling. First produced at the Shaw Festival in 2022 before making its international premiere at the Barbican Theatre in the UK, the work has been met with widespread critical acclaim. Following a recent run at the Perth Festival in Australia, the production now makes its Toronto premiere with Canadian Stage before heading to the National Arts Centre in Ottawa this May.
About the Mahabharata
Originally composed by Vyasa, the Mahabharata spans approximately 100,000 verses across 18 sections (parvas) – which makes it the longest epic poem ever written. It recounts the complex intergenerational conflict between the Pandava and Kaurava royal families, which culminated in the Kurukshetra War. Composed between 400 BCE and 200 CE and appearing in its present form around 400 CE, the Mahabharata is regarded by many Hindus as both a sacred text on dharma (moral law) and a historical record of ancient India’s sociocultural development. As such, it holds immense cultural and religious significance – particularly its best-known chapter the Bhagavad Gita, which is a dialogue between Krishna (Neil D’Souza) and the warrior Arjuna (Anaka Maharaj-Sandhu) on the nature of duty, justice, and the self.
Presented in two parts, Why Not Theatre’s captivating production of Mahabharata combines theatrical storytelling, live music, movement, and immersive design. Part One: KARMA – The Life We Inherit introduces the saga through the story of King Janamejaya. In a bid to avenge his father’s death by snakebite, King Janamejaya performs a ritual sacrifice and vows to destroy all snakes from the earth. To end this cycle of vengeance, a storyteller (Miriam Fernandes) is summoned to narrate the Mahabharata, leading us through the origins of the Pandava-Kaurava rivalry and the pivotal and morally fraught Game of Dice. Part Two: DHARMA – The Life We Choose sees Janamejaya confront the epic war fought by his ancestors, depicted through projections, digital soundscapes, and sweeping design. This chapter culminates in a transcendent 15-minute operatic rendering of the Bhagavad Gita, performed in Sanskrit – this is a moment where Pavri takes centre stage.
An integral component of the show’s cultural authenticity is the show’s all-South Asian diaspora cast, which includes Shawn Ahmed, Neil D’Souza, Jay Emmanuel, Miriam Fernandes (who is also the Associate Director), Ravin J. Ganatra, Darren Kuppan, Anaka Maharaj-Sandhu, Goldy Notay, Ellora Patnaik, Meher Pavri, Sakuntala Ramanee, Ronica Sajnani, Ishan Sandhu, Navtej Sandhu, Munish Sharma, Arun Varma, and Sukania Venugopal, directed by Ravi Jain.
The role and voice of Opera Singer
Pavri’s performance in Mahabharata, specifically her breathtaking delivery of the Bhagavad Gita, has captivated audiences and critics alike. A highlight of Part Two: Dharma, time seems to suspend at this moment, offering space for reflection amidst the chaos of war. And this is especially true for Pavri. “There is so much contrast in the show playing with the stillness and movement – and that’s all with the help of our incredible choreographer, Brandy Leary,” she shares. “It is much harder (for me, at least) to work slowly. It actually takes much more control and stability. So we had to really work on those movements in rehearsals.’ She smiles, “It is truly a dream to get to sing the Bhagavad Gita. To this day, I have conversations about the meaning behind it all with my Sanskrit teacher Sharada Eswar, as it is a never-ending unravelling of the meaning.”
Pavri’s path to this unique role began long before the show’s world premiere. She recalls how early workshops with director Ravi Jain were focused on storytelling and movement – with no singing involved. But that changed once Jain learned about Pavri’s classical training. “That planted a seed in the back of his head,” she recalls. “After some workshops, they were wondering how to do the Bhagavad Gita, which is such an essential part of Mahabharata. Ravi then had the idea that – since this is such a heightened part of the show – what better way to express this text than through music? I thought it was brilliant!”
From there, composers Suba Sankaran and John Gzowski (also the sound designer) composed a hauntingly beautiful piece of music especially for Pavri. “I feel very blessed that John and Suba composed the piece with my voice in mind. As a performer, it’s the ultimate gift,” acknowledges Pavri. “They were so gracious in always checking in with me, to see what worked and what didn’t. As a classical singer, that really lights me up. I love being in the same room as the composer, and getting to collaborate.”
Challenges, rewards and milestones
Singing in Sanskrit presented a special set of challenges and rewards – and for Pavri, the ancient language struck a personal chord. “The language that I pray, as a Zoroastrian, is called Avestan, and it sounds very much like Sanskrit. So there was something very natural about this to me,” she explains. At the same time, she was eager to lean in. “Over the last few years, I have been working with Sharada Eswar…on the correct pronunciations and meaning of the text. It is a very difficult language, and I am still learning things about it.”
As Krishna and Arjuna engage in their pivotal exchange, Pavri sings a soaring 15-minute operatic interpretation of the Gita. In Pavri’s hands – and voice – the Opera Singer becomes more than a narrative device; she is a character who gives musical form to the text’s themes of duty, surrender, and universal truth, adding spiritual and emotional depth to the moment. “Within the conversation between Arjuna and Krishna, there are so many messages. Each time you hear or read it, you learn something new.”
For Pavri, being part of Mahabharata is also a personal milestone – firstly because “I’ve never been a part of an all-South Asian cast, so this is groundbreaking, and I cherish it so much”. But the reasons run deeper. “As a Parsi-Canadian soprano, I have always strived to bridge my rich cultural heritage with the diverse artistic traditions I’m part of. The Mahabharata, with its timeless themes of duty, justice, and the complexities of human nature, resonated with me on a deeply spiritual level.” And she relishes the unique opportunity to perform a culturally significant show of such an epic scope and scale — both abroad and now at home. “It’s not just the privilege of performing in different spaces,” Pavri reflects, “but the deeper sense of connection I feel to each place, each audience, and each moment we share through this work.”
Evolving opera . . . and evolving herself
Pavri sees Mahabharata as part of a necessary evolution in the arts. “Opera has historically been seen as a European art form. Yet this production challenges that perception by weaving together rich South Asian stories and traditions, and music showcasing the vast potential of opera to tell diverse, global narratives. I see it as a celebration of heritage, and a step toward a more inclusive future for the arts.”
Looking ahead, Pavri is bursting with curiosity and energy. She will take on the iconic role of Christine in Phantom of the Opera In Concert this July at Westben Theatre in Campbellford, Ontario and is currently developing a new music project with Sankaran that explores Zoroastrian prayers. “There’s still so much to explore. I feel like I’m just scratching the surface!” she enthuses. “I’m the type of person who wants to explore and do everything, so it keeps my career very exciting.”
In the meantime, Pavri has a warm invitation for all: “Please come see Mahabharata in Toronto or Ottawa (and hopefully there will be other locations in the future). We would love to see you!”
Mahabharata is on stage at the Bluma Appel Theatre at the St Lawrence Centre for the Arts until April 20, 2025. An epic of such scope and scale invites continued reflection and a deeper understanding. Audience members who attend both Parts One and Two are invited to a Khana & Kahani experience before select performances of Part Two: DHARMA. This shared Indian meal (khana), hosted by two storytellers, is accompanied by a story (kahani) and conversation, echoing the beloved tradition of families gathering to discuss the Mahabharata across generations. Reserve tickets at canadianstage.com.
Arpita Ghosal, Sesaya Arts Magazine, 2025
