Pippin
Music/Lyrics by Stephen Schwartz
Book by Roger O. Hirson
Directed by Jessica Redish
Karger Center, 1850 Green Bay Road (map)
thru May 6 | tickets: $40 | more info
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Stellar cast makes most of dated script
The Music Theater Company presents
Pippin
Review by Lauren Whalen
When it debuted on Broadway in 1972, Pippin broke a lot of ground. Accompanied by Stephen Schwartz’s light rock soundtrack, Roger O. Hirson’s script directly addresses and subsequently flaunts many then-conventions of musical comedy. And the production was helmed by Bob Fosse, who shared many similarities with the title character: a man constantly seeking out the mythical “light” through pleasure and destruction, often with disastrous results. (Have you seen All That Jazz?) Sadly, Pippin has not aged well. Director/choreographer Jessica Redish does her best, with the help of a thoroughly skilled and entertaining cast, but only so much can be done with such flawed source material.
Pippin takes many liberties with time, place and culture as it chronicles the journey of the title character (Andrew Keltz). The son of Charlemagne (James Rank), the inquisitive Pippin eschews university to find his own “corner of the sky,” exploring the horrors of war and the pleasures of the flesh. He is accompanied by a statuesque but sinister Greek chorus and the Leading Player (Joey Stone), snake-charmer charismatic and wickedly persuasive. But when Pippin embraces sweet domesticity with widow Catherine (Jess Godwin) and her small son Theo (Isabelle Roberts), the chorus of his subconscious is less than thrilled. Will he fulfill their wishes for a flawless yet fiery finale?
As text goes, Pippin isn’t great. The painfully self-aware script sacrifices plot and character development for constant “clever” moments of winking at the audience. Every attempt at dark comedy falls flat, and the only genuine laughs to be had are found with wisecracking grandmother Berthe (originated by Irene “Granny Clampett” Ryan and played to perfection here by Peggy Roeder). Schwartz would later pen the memorable scores of Godspell and Wicked, but I couldn’t remember any of Pippin’s tunes or lyrics less than an hour after leaving the theater. Pippin has not been revived on Broadway and though film rights were acquired in 2003 following the success of Chicago, nothing is in the works. There’s a reason for this: at its core, it’s not a good show. Perhaps only Bob Fosse and his cadre of inner demons could give the material the subtly surreal treatment it requires.
All is not lost, however, thanks to the terrific cast. Most of the main players are Equity actors, and the clearly-handpicked ensemble is flexible and fierce. Last seen as Young Buddy in Chicago Shakespeare Theater’s wonderful Follies (our review), Keltz is adorably indecisive as Pippin, with doofy charisma and a lovely, light voice. With an alluring grin, sure feet and nasty joie de vivre, Stone makes a captivating Leading Player, channeling the spirit of original cast member and Tony winner Ben Vereen. Rank’s Charlemagne is all blunt charm and cluelessness and Godwin’s Catherine embodies the quintessential spunky romantic comedy heroine. Onstage for nearly the entire show, Pippin’s ensemble players are in a class of their own: alternating between friendly and frightening while contorting their leggy bodies in impressive ways. Kudos to Emily Rogers and Sasha Kostyrko, whose onstage personas are positively magnetic.
Though Redish’s staging is at times questionable, her choreography is astounding – the sure highlight of the production. Fosse celebrated the spectacle of the human body, and Redish’s interpretation would make him proud. When Pippin’s ensemble dances, the audience murmurs appreciation between moments of utter awe. If only the rest of the show were as enchanting.
Rating: ★★★
Pippin continues through May 6th at Karger Center, 1850 Green Bay Road, Highland Park (map), with performances Thursdays-Saturdays at 8pm, Sundays 2pm. Tickets are $40, and are available by phone (847-579-4900) or online at OvationTix.com (check for half-price tickets at Goldstar.com). More info at TheMusicTheatreCompany.org. (Running time: 2 hours 10 minutes, which includes one 10-minute intermission)
