John Rubinstein and the Cast of "Pippin" (photo: Joan Marcus) |
Once upon a time, there was a bittersweet little musical with a simple story, magical charm and deliciously sinister undertones, based (very loosely) on the historical Pepin, son of Charlemagne. It was 1972, and the show was “Pippin”, with Music and Lyrics by relative newcomer Stephen Schwartz (who had just the year before written the same for the off-Broadway Godspell as well as the lyrics for Leonard Bernstein's Mass) and Book by Roger O. Hirson (with an assist from original director Bob Fosse). It garnered eleven Tony Award nominations, won five Tony Awards, and ran for almost 2,000 performances. The recent revival in 2013, by American Repertory Theatre in Cambridge, MA, expanded the slight story with the inclusion of numerous circus acts, with a new extended ending (about which more later) in two acts, where the original version was written to be performed in one act without intermission. This revival went on to earn ten Tony nominations and eventually four Tony Awards. It is this longer version that is the basis for the National Tour, being presented at the Providence Performing Arts Center. Whether it's an improvement is debatable.
Pippin (Brian Flores), who could easily have settled for
being prince, seeks more, specifically the meaning of life and
something fulfilling. Pippin has attempted to prove his loyalty to
his father King Charles (John Rubinstein) by going off to war, which
he eventually sees as pointless. On his journey to understanding he
meets a mysterious Leading Player (Gabrielle McClinton) who heads a
performing troupe. In the song “Magic to Do”, she convinces him
to fight tyranny by murdering his father the King. Meanwhile his
stepmother Fastrada (Sabrina Harper) plots to put her idiot son Lewis
(Erik Altemus) on the throne. Pippin begs the Leading Player to
restore Charles to life, which she does. Pippin escapes into the
woods where he ends up at the cottage of his exiled grandmother
Berthe (Adrienne Barbeau) who encourages him to live in the rousing
“No Time at All”. Pippin then meets a farm widow named Catherine
(Bradley Benjamin) and her young son Theo (Ben Krieger, alternating
with Jake Berman). He is urged by the troupe to finish their Finale
by stepping into a fire. He decides instead to live as a simple
farmer and the play, with all the theatrical trappings of sets,
lighting, and costumes removed, ends. Or at least it used to. In
this revision, young Theo encounters the Leading Player and her
troupe and the story starts all over again, suggesting an endless
cycle, which rather deflates the original choice of simplicity over
spectacle.
Interestingly, the part of Pippin was originally played
back in 1972 by this production's King Charles, John Rubinstein, who
at 69 has lost none of his charisma and energy. Other members of
that original cast included Ben Vereen, Jill Clayburgh, Leland
Palmer, Ann Reinking and Irene Ryan (of Beverly Hillbillies fame).
The rest of the current cast, most of whom weren't even alive at
the time of the original show, are competent and apparently inexhaustible. The score remains the strongest element,
from the famous opening number “Magic to Do”, to such songs as
“Corner of the Sky”, “With You”, “Extra-ordinary” and the
aforementioned “No Time at All”. This last number has always
been a real showstopper, featuring a bouncing ball for a sing-along,
with lyrics such as these:
When
your best days are yester,
The
rest're twice as dear.....
Oh,
it's time to start livin'
Time
to take a little from this world we're given
Time
to take time
For
spring will turn to fall
In
just no time at all.
This production is directed by ART Artistic Director
Diane Paulus, with Choreography by Chet Walker and Circus Creation by
Gypsy Snider (co-founder of Montreal's Les 7 doigts de la main),
and has been both a critical and commercial hit. With Set Design by
Scott Pask, Lighting Design by Kenneth Posner and Costume Design by
Dominique Lemieux, the technical creativity is remarkable.
What started out as a sort of modernized medieval
morality play has ended up with more of a Cirque du Soleil feel, so it's visually
awe-inspiring throughout. But there are too many circus effects and
a radically altered ending. The former, while expert and
entertaining, is a reminder of just how weak the Book is, and the
latter of how much more effective the darker, more unsettling ending
of the original was. The creation of an intermission also serves to
point out how little substance there exists, with very little
happening in the second act. The cast does manage to help one
overlook the threadbare plot. As theater, this production depends on
diversions and distractions, and thus could be said to be magical
after all, though, as does Pippin himself, one might long for
something more fulfilling.
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