Pippin Review: A Musical Journey of Self-Discovery and Enchantment
Once upon a time, long before the musical phenomenon of Wicked took the world by storm, Stephen Schwartz crafted a captivating tale of a young man's quest for identity and purpose. This whimsical musical, Pippin, follows the adventures of the son of the legendary Holy Roman Emperor Charlemagne, a character so restless he questions his place in the world. At just 24 years old, Schwartz's genius was already evident when Pippin became a Broadway sensation in 1972, but the timeless lyrics hint at a deeper, more mature wisdom.
Set against the backdrop of a traveling troupe, the musical Pippin takes the audience on a journey filled with magic, wonder, and a touch of mischief. Directed and choreographed by Amanda Noar, the production features a sparse stage, with the performers' narrative seemingly materializing from thin air, thanks to the illusions of magic consultant Martin T Hart. The lead actor, Lewis Edgar, is a natural fit for the role, as if plucked from the audience, under the authority of the charismatic Leading Player, Emily Friberg.
The musical's opening number, 'Magic to Do,' exudes a seductive charm, but it fails to capture the underlying malevolence that permeates the story. The songs 'War Is a Science' and 'Glory' should evoke a chilling sense of vaudeville grotesquerie, reminiscent of Bob Fosse's choreography, which is often present but lacks the dark undercurrent of the era. Costume designer Hannah Danson's fusion of 1970s fashion with ancient aesthetics adds a unique touch, but the counterculture optimism shines through in numbers like 'Simple Joys,' where hula hoops dance across the stage, and the gentle protest song 'Morning Glow,' delivered with emotional intensity by Edgar.
Despite the traditional leaden book by Roger O'Hirson, which often makes Pippin an over-earnest hero, Edgar brings a rebellious edge to the character. He successfully portrays Pippin as a young man defying his father's expectations, even if the overall characterization remains somewhat disjointed. The supporting cast is equally impressive, with grandmother Berthe (Clare Brice) delivering a rousing solo, 'No Time at All,' and Fastrada (Helena Caldas) providing a sly yet simpering performance. Mia Quimpo's debut as Catherine is a standout, offering a pure and unadorned portrayal.
Pippin's enduring appeal lies in its ability to enchant and provoke thought, even if the wickedness is somewhat muted. Schwartz's songs continue to cast a spell, and the production's creative use of magic and illusion adds to the overall charm. This review highlights the enduring power of Pippin, a musical that still captivates audiences with its unique blend of fantasy, self-discovery, and the timeless struggle to find one's place in the world.
