Goodspeed's "Pippin" Enthralls
"Pippin" bequeathes its audience the best opening number, "Magic To Do," that I've seen in weeks, months -- cannot recall. While the stage is, during pre-show, initially bare, it soons become a creative smorgasbord for: magic; a revolving, shining, metal setting; a wondrous Leading Player (Andre Ward);
acrobats, jugglers.....
Please follow my lead and jump to the task or at least to a production when Gabriel Barre directs. He facilitated John Cariani's terrific "Almost, Maine" in New York last winter. At the Goodspeed, Barre has directed "Sweeney Tood," "King of Hearts," "Camille Claudel," "Summer of '42" "Finian's Rainbow," and others. Working with choreographer Mark Dendy, Barre breathes additional life into Stephen Schwartz's music and lyrics. Roger O. Hirson wrote the book and it suffices.
The production definitely sparkles. Thanks, then, to people such as scene man Beowulf Boritt, magic consultant Peter Samelson, stunt coordinator Ottavio Gesmundo, costume designer Liz Prince, lighting designer Kevin Adams, and others, too.
The script tells the story of Pippin (Joshua Park), who is the son of Charlemagne (the same Micky Dolenz of "Monkees" fame - he was the lead singer). Pippin is confused, a bit dazed, too, and is a prime candidate to experience adolescent sexual liason while he attempts (here we go again) to find himself. Eventually, Pippin stabs his father but, through artistic license and imagination, the act is reversed!
Pippin falls, sort of, for a yellow-haired widow named Catherine (Teal Wicks). He and she try the domestic scene, complete with domicile. The play concludes as, again, the trappings are absolutely removed and the Leading Player insists that each instrument grow silent. By now, Pippin and Catherine, wearing only quite modest undergarments, have become basic and, in so doing, that much more human. Fini.
Along the way, Pippin watches as temptresses, all in white (of course) fly above him, swooping down and around. Earlier, Fastrada (Shannon Lewis) attempts to crown her son, Lewis (the very ripped James Royce Edwards) as future king -- rather than Pippin.
Bob Fosse created the choreography for the 1972 Broadway presentation of "Pippin." Barre has indicated that he and Dendy studied Fosse's take and utilized it as springboard material for their version. The Goodspeed show is not vintage Fosse. Schwartz and Hirson have been involved as this revival evolved.
Quibble? "Pippin" is not a thrill a moment for its two hours and forty minutes. Yes, another post-teen male (see that guy Hamlet) becomes a prince of dusk. True, some of this is all too familiar.
Here's the but: the artistic team flies this re-invented show with enthusiasm, smarts, and vigor. The cast members seem (who really ever knows?) to love the work. At the final curtain, it appears as if they've completely enjoyed themselves. You, prospective theater patron, might very share that sentiment should you see "Pippin" before it closes on September 29th.
acrobats, jugglers.....
Please follow my lead and jump to the task or at least to a production when Gabriel Barre directs. He facilitated John Cariani's terrific "Almost, Maine" in New York last winter. At the Goodspeed, Barre has directed "Sweeney Tood," "King of Hearts," "Camille Claudel," "Summer of '42" "Finian's Rainbow," and others. Working with choreographer Mark Dendy, Barre breathes additional life into Stephen Schwartz's music and lyrics. Roger O. Hirson wrote the book and it suffices.
The production definitely sparkles. Thanks, then, to people such as scene man Beowulf Boritt, magic consultant Peter Samelson, stunt coordinator Ottavio Gesmundo, costume designer Liz Prince, lighting designer Kevin Adams, and others, too.
The script tells the story of Pippin (Joshua Park), who is the son of Charlemagne (the same Micky Dolenz of "Monkees" fame - he was the lead singer). Pippin is confused, a bit dazed, too, and is a prime candidate to experience adolescent sexual liason while he attempts (here we go again) to find himself. Eventually, Pippin stabs his father but, through artistic license and imagination, the act is reversed!
Pippin falls, sort of, for a yellow-haired widow named Catherine (Teal Wicks). He and she try the domestic scene, complete with domicile. The play concludes as, again, the trappings are absolutely removed and the Leading Player insists that each instrument grow silent. By now, Pippin and Catherine, wearing only quite modest undergarments, have become basic and, in so doing, that much more human. Fini.
Along the way, Pippin watches as temptresses, all in white (of course) fly above him, swooping down and around. Earlier, Fastrada (Shannon Lewis) attempts to crown her son, Lewis (the very ripped James Royce Edwards) as future king -- rather than Pippin.
Bob Fosse created the choreography for the 1972 Broadway presentation of "Pippin." Barre has indicated that he and Dendy studied Fosse's take and utilized it as springboard material for their version. The Goodspeed show is not vintage Fosse. Schwartz and Hirson have been involved as this revival evolved.
Quibble? "Pippin" is not a thrill a moment for its two hours and forty minutes. Yes, another post-teen male (see that guy Hamlet) becomes a prince of dusk. True, some of this is all too familiar.
Here's the but: the artistic team flies this re-invented show with enthusiasm, smarts, and vigor. The cast members seem (who really ever knows?) to love the work. At the final curtain, it appears as if they've completely enjoyed themselves. You, prospective theater patron, might very share that sentiment should you see "Pippin" before it closes on September 29th.
posted by Fred Sokol at 11:33 AM
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