Traditional East Indian storytelling took place in temples or homes — intimate, in-the-round settings that allowed observers to take in every nuanced hand gesture, every evocative eye glance. So it was somewhat disorienting to take my seat in the bleachers of the Circus Arts Conservatory arena for “Naga-Mandala,” a hybrid theatrical experience that blends classical and contemporary Indian storytelling, music and dance with, yes, you got it, circus arts.

According to program notes, the production’s director, Salil Singh, happened upon the arena while searching for a venue for this “play within a play,” brilliantly written by Girish Karnad (1938-2019), an Indian playwright, actor, film director and screenwriter who drew on history and mythology to comment on contemporary social and political issues. The setting provided an opportunity to throw a few aerials into the creative mix, but thankfully, not too many, because the power of this program lies not in the acrobatics but the story itself.

Based on two folk tales from rural southern India, it draws from the myth of the Naga (Cobra), who had a god-like power and the ability to shape shift. The story is ancient, but Karnad uses the tale to raise contemporary questions about men and women, marriage, boundaries and deception.

It all begins with Singh himself as the “Man,” speaking directly (and humorously) to the audience. A playwright who, it seems, has put too many of his past audience members to sleep (“I hadn’t realized my plays had that much impact”), he’s been placed under a curse that requires him to stay awake all night for at least one night of the month. Unfortunately, he’s arrived at the final day of the month without having been able to avoid falling asleep each night and is now contemplating imminent death if he can’t refrain from nodding off .

Just as he swears to give up storytelling if his life is preserved, he’s joined by “Story” (Kathryn Parks), who offers to tell him a tale but makes him promise two things: That he will not doze off; and that he will pass the story on (thus forcing him to break his just-taken vow). He decides he has “no choice.”

As “The Flames” — six dancers in full skirted, rainbow-hued dresses with flowing headscarves that attach to their wrists — enter, whirl around and begin gossiping, we’re transported to the world of Rani, played by Katie Grace Hansen (who is also credited with the aerial choreography) and her new husband, Appanna (Any Man), played by Cortland Ellis.

It’s immediately clear this is no honeymoon period. Despite her subservient nature and alluring long, black tresses, Appanna treats Rani with disdain, barely speaking but to bark at her for his food; he locks her in the house when he leaves each morning. Given his “cold-blooded” treatment, Rani questions if he is even human — to which he responds: “Don’t ask questions. Do as I say.”

One day, however, Kurudavva (Linda Roeming), a blind woman who rides on the back of her son, Kappanna (Ty Schambach), and who once knew Rani’s mother, manages to slip her a magic “root,” which she says will make the newlywed’s husband become so infatuated with her, “he will be your slave.”

Rani starts with the smallest root — to no great effect — but when she contemplates using more, she becomes afraid of poisoning her husband and empties the paste she’s made from the root into an anthill where resides the Naga, or Cobra (also Ellis, with no costume change other than the removal of his cape). That’s where things start getting a little mystical, with the caped husband remaining cold and abusive in the daylight, but the bare-chested Appanna transforming into an adoring and loving mate by night.

As you might imagine this all leads to an inevitable crisis, with Rani’s pregnancy bringing accusations of betrayal. It’s all neatly resolved by “Story” with a “happily ever after” ending that dissatisfies the playwright. Conscious of his pledge to pass the story on, he protests that “No one will ever accept this ending!” and demands a re-write, which eventually leads to a more nuanced and ambiguous conclusion.

Interspersed with the action in three or four places — somewhat awkwardly given the need to hook into rigging — Hansen and Ellis perform a few aerial stunts. Although nicely done, they don’t do anything to further the narrative and instead break up the continuity of a story that is quite engrossing on its own.

Although a more intimate setting would likely enhance the proceedings, the vastness of the venue is minimized (to the degree it can be) by partitions that shut off either end of the arena. This creates a central “stage,” with a large backdrop/scrim and a tree-like structure at one end and a modestly raised square platform that serves as Rani and Appanna’s house at the other.

Behind that scrim sits a four-person musical ensemble that provides live accompaniment throughout — Prabhat Kumar on sitar, Timothy O’Neill on violin, Carolyn Suda on cello and Ruffus Silver on flute/percussion. Kumar is credited as both music director and the composer of the lovely but spare score that allows each instrument to represent a different character. Shaila Sateesh, a longtime Sarasota teacher of the traditional Indian dance form, Bharatanatyam, contributed the Flames’ choreography, which reimagines classical movement through a contemporary lens.

None of the actors need be singled out, not because they weren’t each effective and accomplished in their respective roles, but because no one overshadowed anyone else, bringing a pleasing balance that seemed just right for this kind of narrative.

According to the website of White Plume Productions, the nonprofit behind this presentation, its goal is to “present stories that speak to our common humanity” and to “create a platform for cultural exchange and artistic collaboration.” To that end, the circus element of “Naga-Mandala” can be appreciated on an aspirational level. I’d still rather see this production in an intimate black box theatre — or, better yet, an ancient temple — but despite the jarring setting, this celebration of the act of storytelling itself made for a very enjoyable evening.

“Naga-Mandala,” presented by White Plume Productions. Written by Girish Karnad, directed by Salil Singh with music by Prabhat Kumar, choreography by Shaila Sateesh and aerial choreography by Katie Grace Hansen. 2 and 7:30 p.m. March 14; 2 p.m. March 15. $35-45. Sailor Circus Arena, 2075 Bahia Vista St., Saraspta. whiteplume.org