Pippin - The Musical

"Pippin" with Music and lyrics by Stephen Schwartz and book by Roger O.Hirson is a musical created in the mid-1970’s that follows the journey of a young prince named Pippin as he searches for fulfilment and meaning in life. Guided by the Leading Player and surrounded by an eccentric performance troupe, Pippin embarks on various adventures, from war and politics to love and self-discovery.

Not often performed in the UK, Pippin is definitely a challenging piece, and we went into the Theatre not sure what really to expect – other than the memory of last year’s incredible production by BMCC of Big Fish. We had also watched a 1980 filmed US stage version tucked away on Netflix in lock-down, that left us completed confused and quite unsure why Pippin is one of the most successful productions ever on Broadway. We needn’t have worried - BMCC once again really blew us away with this show, we loved it from beginning to end and completely understood why this show has the following it does.

On entering the Theatre, the set definitely had the wow factor and it also worked beautifully as a concept. You’d set-up your own round stage to imitate the circus stage for the ‘play within the play’, with the hanging aerial rings at the back of the stage. You had also put in your own Proscenium Arch too with built in lighting. The stage seating was made up of a series of blocks that could be cleverly set and reset by the cast, who completed the changes themselves for a variety of scenes, with near-faultless integration with the events on-stage. The black rear stage acted as the appropriate backdrop for the illusions that were to take place. These were all effectively executed – from the ‘talking decapitated head’ to though the switching of the robed ‘King’ Pippin from staircase to box at the side of the stage, which was an incredible end to Act 1. The opening of the centre stage floor at the end of Act 2 (as the ’Fire’ box) was also another wow moment.

The lighting was impressive also in application and style, but like so much in this production, also in its integration with the story. As well as the arch lighting and standard front lighting, a clever use of side, foot, under-stage and rear lighting was used to great effect to match the mood of the production scenes – creating some dramatic effects (Glory, With You and Finale , for example) but also supporting the illusion work (such as in Morning Glow).  A terrific achievement.

Sound was well-controlled too. The balance of sound between soloists, chorus and the band was spot on throughout the production. Radio microphones were well-cued and well-managed. Any sound effects were well-cued. When sound is something you don’t need to notice then you know a great job is being completed. Well done.

The music was incredible too. With 3 Musical Directors we do not quite know how the task was split, but the band under the control of Claire Alsop performed expertly, generating a full and consistent sound. Glory and Morning Glow were both very impressive, though we could have focussed on so many of the numbers. Speeds with the cast from the closed pit were well-managed as were levels and balances. Principals were not drowned in cast numbers and chorus harmonies could clearly be heard in their integration with the ‘Player’s Band’. Many of the musical numbers do not fully make sense until the music is tied into the performance, and this this very much what was achieved. Very well done.

The choreography by Emily Weaver was just brilliant throughout, the details! The Fosse style choreography was so precise and slick and must have taken so much practice. Combining the dance, the acro and the aerial just worked so well throughout. It was pitched so well for all the differing abilities and allowed everyone to show what they could do so it didn’t feel it was only being undertaken by a select group. Visually it was a joy. Loved it.

The Costumes, Hair and Make were so well thought out and really effective throughout, from the skeleton costumes, through to the clowns and the soldiers.  Face make-up was a key feature of the look of the production and the integration of all of this with the story worked really well too.  Properties, where used all worked as intended.

The ensemble players have so much work to do in this show and every single one of you were fabulous, the choreography, and there is a lot of it, was so strongly executed, so precise and well-co-ordinated. The company vocals were beautifully sung, the harmonies clear. Everyone fully embodied their different characters enhancing and supporting the principal cast from the moment they came on the stage to the moment they left it is hard to pick a particular highlight, but I loved the battle depiction.

The Direction of the production was incredible – and this isn’t something we say lightly. As well as the seamless integration of all of the features (that we have banged on about already!), it is the level of detail in every action and movement from all of the cast and in the staging that was so evident. There was a clear vision that everyone involved bought into.

In reviewing the Principal performances:

Leading Player. Such a strong and charismatic performance as the key role that binds the show together, delivering the comedy moments perfectly and moving the action along with such skill and confidence. Your vocals were lovely.

Pippin - you captured Pippin’s naivety perfectly, your songs delivered beautifully, and you had the audience’s sympathies with you from beginning to end. Such an endearing performance, which this part really needs.

Charles. A suitably larger than life portrayal with strong commanding vocals. You got the very best, be it humour or drama from each of your lines.

Fastrada. A manipulative and seductive performance, you got the very essence of the character and portrayed it very well.

Lewis. I loved the use of the mirror, really demonstrated your character’s self-obsession. As a triple threat, you did it all.

Catherine. You really brought out the comedy moments in this role to provide some welcome comic relief, without losing the warmth in the character. A lovely performance.

Berthe. This is a great role, and you really drew out all the comedy and warmth. I loved “No Time At All” a highlight.

Theo. Such a great actor, you had some wonderfully funny lines that you really made the most of.

I think we’ve just about said all of the superlatives that we have in our vocabularies. This was an exceptional team performance, covering all aspects of the musical both on and off-stage. You managed to take a rarely performed show, with some largely unknown music and an unusual and difficult story and turn it into an incredible evening’s entertainment through some quite exceptional story-telling. Not only do we now understand the musical for the first time, but we now love it too!!

We both had a great evening and absolutely loved this production, really well done.

PLEASE NOTE:

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance, and it is inevitable that his assessment will be effected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

© NODA CIO. All rights reserved.