From the writer of WICKED, GODSPELL, THE BAKER’S WIFE, and more, PIPPIN brings together a dazzling troupe of travelling performers to tell the story of a young prince’s search for purpose in this brand new production of Stephen Schwartz’s 1972 Tony Award-winning classic. Hypnotised by the glitz and glamour, Pippin chases glory in battle, temptation in love, and power on the throne only to discover that the brighter the bulbs, the darker the shadows. With a score packed with musical-theatre favourites including Corner of the Sky and Magic to Do, this all-singing, all-dancing spectacular is not to be missed!
Review by Stephen Gilchrist
I don’t know whether it’s me. In fact I’m sure it is. I have a sort of crush on Pippin, the 1972 show by Stephen Schwartz and Roger O. Hirson. The show was actually originally developed by Steve Schwartz in 1967 as part of his degree course at Carnegie Tech (or Carnegie Mellon as it is now known). I was privileged to see the original Broadway production with Ben Vereen, the original London production and numerous other productions over the past fifty years. It remains a favourite which I never fail to enjoy. So I come to this review with an inbuilt bias. Sorry about that!
Why do I love this show? It has always seemed to me to be a mystical piece, slightly off centre and disquieting but which has an irrepressible charm based on the sort of naïve 1960s youthful aspiration which I think was part of the zeitgeist of my generation. It is of its time musically, with a mix of soft popular music and show music, and in a similar way to Schwartz’s ‘Godspell’, and with its theme of ‘rite of passage’. And it is one of Schwartz’s finest scores. It’s tuneful and joyful, funny, clever and powerful in its message.
For the uninitiated, ‘Pippin’ (played by an outstanding young singer-dancer, Lewis Edgar) uses the historical device of the life of the university educated son of war mongering Charlemagne (played by Oliver Wood in a strong performance) and to trace the journey he takes to make his life mean something and to be ‘extraordinary’, and, in the words of his opening number, to find his ‘corner of the sky’. This production, directed, staged and choreographed by Amanda Noar more than confidently (and with a nod to Bob Fosse, the original director) deploys some stellar theatrical tricks and dance moves.
The story, which is told by an eccentric, quirky and sometimes threatening troupe of travelling circus performers is led by the dark and manipulative ‘Leading Player’. Emily Frieberg, also terrific, is a real star in this role.
The show opens with one of the greatest of all opening numbers ‘Magic to Do’ which immediately anticipates the technique, mode and feel of what is to come
Join us, come and waste and hour or two
Doodle-ee-doo
Journey, journey to a spot ex-
Citing, mystic and exotic
Journey through our anecdotic revue
We got magic to do just for you
We got miracle plays to play
We got parts to perform
Hearts to warm
Kings and things to take by storm
As we go along our way
There are periodic 4th wall breaches and some always entertaining surreal storytelling in song and dance, by way of Commedia dell’arte, and with a variety of circus and theatrical tricks.
In the opening number we are promised
#Intrigue
Plots to bring disaster
Humour
Handled by a master
Romance
Sex presented pastorally..
Illusion
Fantasy to study
Battles
Barbarous and bloody#
And that is exactly what we get in spades! There is blood, sex, and illusion. And it all works superbly! Given the size of ‘Upstairs at the Gatehouse’, this is obviously a small scale production in which the ten actors playing the featured characters are also the ensemble. Thus they work extremely hard, and I’m bound to say to great effect. The power of the piece, its fun, its drama and its power is not diminished in Noar’s presentation and is considerably enhanced by Harry Style’s musical direction of his excellent four piece band. Hannah Danson’s first class scenic design and extravagant and colourful costuming, strike just the right tone to suit the style of the piece along with Simon Jackson’s potent lighting
I cannot praise the entire company too much. They all sing and dance like gooduns! Mia Quimpo is super as Pippin’s feisty, ballsy love interest, Catherine. She also has a great voice. Pippin’s grandmother Berthe, who has one of the best sing-along numbers in musical theatre, ‘No Time at All’, is in the hands of the bouncy Clare Bruce, while Helena Caldas is a super-sexy double dealing Fastrada, Pippin’s stepmother.elena Cladas
I left the theatre promising myself a repeat visit. We were promised magic and we got it in 5 star abundance. Maybe it is just me, but I have a sneaking suspicion you will enjoy it just as much!
