The Mongol Khan review: Epic in scale, grandiose in ambition — just don’t expect a solid narrative
If musicals are a sum of its parts, then this one adds up quite beautifully.
‘The Mongol Khan’ musical brings a glimpse of the epic history of Mongolia’s Hunni Empire, told through the eyes of a fictitious king, Archug Khan. Part family drama and part political struggle, the show transports you to the heart of the ancient nomadic empire.
Following its immense success in Ulaanbaatar, Mongolia, and fresh off a sold-out run at the London Coliseum, this critically acclaimed musical is the first-ever Mongolian theatre production to be staged internationally.
Photo courtesy of Katja Ogrin
With a colossal cast of over 70 singers, actors, acrobats, and dancers, this production pulls out all the stops and delivers a breathtaking display of skill and glamour. But for all its glitter, the show lacked the depth to truly match the scale of its presentation. It’s all bells and whistles — but damn do they make a good sound.
A tale of power, betrayal & a lot of male pride
At its core, ‘The Mongol Khan’ tells a story we’ve all seen before — one of power struggles, betrayal, and family drama. Think Game of Thrones, it even has its own dragon.
Set in ancient Mongolia some 3,000 years ago, the reigning Khan of the Hunni Empire Archug Khan (Erdenebileg Ganbold) is stuck in a classic dilemma.
He has to choose between two heirs, both with a claim to the throne, leading to a deadly game of baby-switching and deception. The stakes feel high, but the narrative itself is surprisingly thin.
Photo courtesy of Katja Ogrin
The drama is almost Shakespearean, both in its scale and its ludicrousness. The show leans heavily on classic tragic elements like jealousy and mistaken identity, but instead of delving into the emotional core of these conflicts, it stays firmly in the realm of spectacle.
While the storyline and characterisation may not offer much depth, the actors do their best to breathe life into their characters.
Photo courtesy of Katja Ogrin
In a show that revolves around kings and heirs, it’s actually the queen who steals the spotlight. Queen Tsertser, played by Uranchimeg Urtnasan, delivers an emotionally charged performance, full of raw intensity and heart.
Despite the sometimes ridiculous premise of switching babies and succession crises, she carries a believable vulnerability and strength to her role, overshadowing the male characters with her wide range of emotions. You can’t help but feel for her, caught between the pride and foolishness of the men around her.
Meanwhile, Bold-Erdene Sugar exudes gravitas as Chancellor Egereg, the main antagonist. His performance is effortless and villainous, an easy target in an easy narrative where good versus evil is as simple as black and white.
Photo courtesy of Katja Ogrin
Representing purity and goodness, Dulguun Odkhuu as the Consort is the perfect pick for the role — soft, feminine, and selenic.
Unfortunately, this softness is sometimes drowned out by the cacophony of the show’s scale. It’s the pattern of the predictable good vs evil story: the good guys are always so much less interesting than the bad.
Erdenebileg Ganbold portrays the Khan with stoic command, his voice impressive, particularly during his moments of throat singing.
One cannot help, however, to feel as if the scale of this epic is too large for this character. At points, the spectacle carries him away, the Khan lost in the grandeur of his Empire and its conflict.
Photo courtesy of Katja Ogrin
The musical is directed by revered Mongolian director Hero Baatar, and while the show’s run is offered in both English and Mongolian, the experience of watching it in its original language lent it more impact.
While screens with English and Mandarin subtitles are set up around the stage, you soon realise that you don’t need to flitter between stage and screen to grasp each scene. It says a lot about the complexity of the story when you don’t need to understand what the characters are saying to know what’s happening.
The sum of its 70-cast parts… and then some
Where ‘The Mongol Khan’ truly shines is in its music and the way it was brought to life by its cast of dancers.
Photo courtesy of Katja Ogrin
The music, composed by Birvaa Myagmar and Odbayar Battogtokh, is haunting, blending traditional Mongolian sounds with modern bass-heavy beats. It’s atmospheric and evocative, creating a sense of foreboding that lingers throughout the show, adding depth where the story sometimes falls short.
The choreography, by Bayarbaatar Davaasuren and Khashkhuu Khatankhuyag, is nothing short of breathtaking. Every scene is filled with movement, with the ensemble creating a living, breathing backdrop to the action.
They move with military precision, transforming from warriors on the battlefield to slithering succubi in moments of sensual temptation. Each tremor of an arm or flick of a wrist seems to hold emotional significance, drawing your eye even when there’s a lot happening on stage.
Photo courtesy of Katja Ogrin
The costumes, designed by Bold Ochirjantsan, are a visual feast in themselves. They incorporate intricate historical symbols, animal imagery, and vibrant colours that pop under the stage lights, making the dancers look like living pieces of art. The result? A massive spectacle that’s nothing short of stunning.
The scale of each scene is truly epic. From vast battle sequences to intimate moments of emotional turmoil, the dance ensemble elevates the show, making it feel larger than life.
It’s a visual banquet that makes up for the sometimes shallow storytelling, pulling you into the world of ‘The Mongol Khan’ through sheer force of performance and presentation.
Photo courtesy of Katja Ogrin
A feast for the eyes but light on substance
The Mongol Khan is a must-see if you’re looking for a visually stunning night at the theatre. It’s a spectacle in every sense of the word — lavish sets, jaw-dropping choreography, and costumes that practically sparkle.
But while it dazzles on the surface, the story feels like a refurbished slice of history, more interested in showing off its grandeur than digging into the emotional depths of its characters. It’s a show that’s more flash than substance, but when the flash looks this good, it’s hard to complain too much.
No, it’s not perfect. But if you’re ready to be swept away by visual brilliance, this might be exactly the show you’re looking for. Just don’t expect to leave with much to chew on, story-wise.
Organised by Base Entertainment Asia, The Mongol Khan is playing at Sands Theatre at Marina Bay Sands until 3 November. Tickets can be bought here.
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Featured image adapted from images by Katja Ogrin.
