The musical Pippin has been known and loved for its Fosse influence and wonderful score by the multi-award-winning composer Stephen Schwartz (Godspell, Prince of Egypt, Wicked) since it burst on the scene in 1972. A dark, comedic, coming-of-age story, it follows the path of Pippin, the naive prince and son of fabled Emperor Charlemagne, who’s on a quest to find his own corner of the sky.
A 2013 revival set the action in a circus, complete with high flying acrobats and even had an impressive number featuring a trapeze artist. This production takes a different thematic route, although it does contain a nerve-wracking “tightrope” walk.
Directed by Kim Shafer, STC’s Pippin is set in a vintage movie palace, complete with art deco proscenium, racing spotlights and old time, pre-show reels that greet the audience upon entering the modern Hoogland venue.
“The story still remains one worth telling, so we have stripped it down and framed it as a film in progress. This is a different take on Pippin visually, but the interpretation leaves the script and score intact, meaning that the overall message of the show, the author’s intent, is still there,” Shafer said. “It’s our hope that from the moment you walk into the theater, you feel enveloped in a true Hollywood movie house experience.”
The concept of the musical is a story-within-a-story told by a mysterious theatrical troupe fronted by their guileful Leading Player (Liyah Orielle). They perform the events of Pippin’s young life, often breaking the fourth wall and stepping into and out of a multitude of characters. The patchwork plot follows Pippin’s search for his purpose in life amidst of myriad of distractions, disappointments and temptations along the way. So, he’s basically all of us.
Recent college graduate Pippin (Elijah Sadler) returns home to his father, King Charles (J.B. George), and reunites with his scheming and seductive stepmother, Fastrada (Cynthia Higginson), and her daft but favored son, Lewis (Aiden Garland-Sutter). The King and Lewis are off to fight the Visigoths and Pippin, hoping to prove himself in war, begs to come along.
After a violent and victorious battle, a disillusioned Pippin discusses the futility of war with the head of a deceased enemy soldier. After coming to the conclusion that war is not the answer, he sets off on a quest.
Along the way he encounters his exiled and carefree grandmother, Bertha (Laurie McCoy), now a lounge singer is a swanky night club. In one of the more joyful scenes in the show, she tells Pippin to stop worrying about the future and enjoy the present. He attempts this in various ways, which only leads to further despondency until grieving widow Catherine (Kinsey Peotter) and her young son, Theo (the talented Wyatt Vespa), enter his life.
Ultimately, Pippin is an existential allegory about a man caught in a loop of seeking fulfillment in excitement only to find it in what he considered mundane – genuine human connection.
There were several things I enjoyed about this production but there were also frustrations. First and foremost – there are some wonderful vocals all throughout and many of the musical numbers soar – breathing life into Schwartz’s vibrant score. The orchestra and sound were in great shape opening night and many songs are still spinning in my head. Fitting costumes and stylized choreography also added nice touches.
As Leading Player, Liyah Orielle is magnificent. The ability to immediately captivate an audience is clearly part of her DNA. There’s not a wasted movement or unintentional thought and she excels, even when working through some faltering tech.
Elijah Sadler is a convincingly despondent Pippin, brimming with ennui while seeking to cure his deep sense of purposelessness. Sadler was particularly drawn to the character’s “growth over the course of the story. (Pippin) is reluctant to change but it makes it more impactful when he does.” he said.
There are many moments when the performers and the show shine – except for when they are left in the dark.
I heard grumbling among audience members about the lighting, and I was confounded as well. Wandering spotlights and near-complete darkness marred parts of several scenes. It was also concerning at times to watch performers either traverse the pit wall or move through the house where visibility was low.
I’m sympathetic to technical glitches, especially when a programmed light board might go awry, and deeply supportive of the volunteers who step up to the huge task of designing and running tech. Regardless of the cause here, I hope these issues are remedied so the cast gets the visibility they deserve.
Pippin continues Nov. 20-22 at the Hoogland Center for the Art’s LRS Theatre. For tickets, visit https://www.hcfta.org/tickets or call 217-523-ARTS.
