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Pippin

Charing Cross Theatre

Reviewed – 5th July 2021

★★★★

“The pace of the production is unrelenting, and the hit list of songs comes thick and fast”

There is ‘Magic to Do’ in the round, underneath the arches at Charing Cross Theatre with this new production of Stephen Schwartz’s classic musical Pippin. Director Steven Dexter takes on his fourth production of the show, developing his version from last autumn at the Garden Theatre.

Performed by a versatile ensemble of eight, Pippin (Ryan Anderson) – with shades of Peer Gynt – goes off on a life journey in search of success and fulfilment, aided and abetted by a troupe of travelling hippie players who may, or may not, have Pippin’s best interests at heart. Always by Pippin’s side is the scheming, snake-hipped Leading Player (Ian Carlyle) who, when not centre stage, can be found observing close by, conducting the band, directing the lighting changes and marshalling his players. He leads Pippin a merry dance intending it to culminate in a sensational Grand Finale – both the show’s and Pippin’s – if fate or love does not intervene.

The set is colourful and vibrant with copious suns and flowers, the circular stage area reminiscent of a big top circus ring. This is 1967, the year of the Summer of Love, and flower-power is in its ascendancy. As we take our seats, the fragrance of incense in the air, Pippin – peace and love symbols embroidered onto his jeans – sits alone, brooding. We hear a soundtrack of sixties songs – The Beach Boys, Cream – interspersed with news bulletins of progress of the Vietnam War. But as the action begins, the period feel becomes less important. This story is timeless.

The pace of the production is unrelenting, and the hit list of songs comes thick and fast – ‘Corner of the Sky’, ‘Glory’, ‘Morning Glow’ ‘Kind of Woman’. The two-piece band is supported by the ensemble with a rhythmic drive of finger clicks, foot stamps and the beating of their own cajons. Together in song and dance they re-enact Pippin’s life, each member taking the role of a significant other in the story: his father, mother, grandmother, lover. And as each player takes centre stage, they are treated to a drum roll from their fellows. Special mention is due here for Genevieve Nicole as Berthe, Pippin’s grandmother, who so nearly steals the show whilst leading the audience in a sing along of ‘No Time at All’. But everyone excels: the words are clear, the singing powerful, the variety of dance styles exhilarating.

But it is Pippin and the Leading Player who are the equal stars of this show. Anderson is sympathetic in his portrayal of Pippin as his character swings from vulnerability to exuberance and then through apathy to tenderness when he allows himself to find love with his Catherine. And his energy is balanced by Carlyle’s control in showing the Player’s cynicism, persuasion, and drive to produce the spectacular. Together the couple command the stage, and no more than during their duet ‘On the Right Track’.

The production is family-friendly with no severed limbs or decapitated heads. And the sexual hijinks are more sensual and implied than explicit, with no more than a hint of bump-and-grind.

The work of Stephen Schwartz will be well represented this year on the London stage with Wicked, The Prince of Egypt, The Children of Eden and Godspell all upcoming but the run begins here with this fine and most enjoyable revival of his first big success.

Reviewed by Phillip Money

Photography by Edward Johnson

Pippin

Charing Cross Theatre until 14th August

Previously reviewed this year by Phillip:

The Money | ★★★ | Online | April 2021

Animal Farm | ★★★★ | Royal & Derngate | May 2021

Trestle | ★★★ | Jack Studio Theatre | June 2021

Romeo and Juliet | ★★★★ | Regent’s Park Open Air Theatre | June 2021

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★★★

“The energy and commitment of the cast is undeniable, as is their pure joy in performing”

Once On This Island is set in the French Antilles, and tells the story of a young peasant girl, Ti Moune, who falls in love with a Frenchman, Daniel, who lives in the grand hotel on the other side of the island. Ti Moune’s love plays out as part of a battle between the gods Papa Ge (the demon of death) and Erzule (the goddess of love) as to who is the strongest, and although Ti Moune ends up cast aside by her lover, in favour of a French noble woman, the gods look kindly on her loyalty to Daniel, and she is reincarnated as a tree, which eventually grows, cracks the hotel gates and allows future generations to live together in harmony. The story is part Romeo and Juliet, part Little Mermaid, and the score is rich in calypso and Caribbean rhythms.

The musical is one of The British Theatre Academy’s summer shows, and, with its nineteen strong cast, Once On This Island is a perfect choice to showcase the talents of its alumni. Lee Proud (director) runs a tight ship, and the production is pacy and professional, with every performer, from the leads to the ensemble, giving their all 100% of the time, which is fantastic to see. The energy and commitment of the cast is undeniable, as is their pure joy in performing. Inevitably, there are weaker links here, but the strength of the collective is such that it doesn’t matter. Similarly, some of the more hackneyed choreography and design choices are glossed over by the brio of the production as a whole.

That said, the high-octane energy could become relentless, and both the production and certain individual performances would have benefitted from a bit more light and shade. This wasn’t helped by the sound, which was deafening. The Southwark Playhouse is a relatively small space, and, although it is now done as a matter of course, this reviewer again questioned the necessity of miking up the performers. The audience is perfectly capable of hearing the singers at such close quarters, and miked-up singing exaggerates an already-present musical theatre stridency in many of the voices. Clarity and vocal strength, however, were on point throughout.

Chrissie Bhima, as Ti Moune, demonstrated terrific tone and control, and made the most of her belters, especially her opening number ‘Waiting for Life’, but the voice of the evening was that of Aviva Tulley, who was masterful throughout and truly came into her own with her showstopper ‘The Human Heart’. Already a subtle, expressive, powerful performer, she is bound to have an exciting future. Credit too to Marie-Anna Caufour for her touching performance as Euralie, Ti Moune’s adopted mother, and to Jonathan Chen for his rousing portrayal of the Earth Mother Asaka.

Once On This Island is not a particularly arresting musical, lyrically, musically or in terms of its story, but it is lots of fun. And this particular production feels like a celebration, full of youthful energy and love. And that really ain’t a bad thing to be a part of on a summer evening.

Reviewed by Rebecca Crankshaw

Photography by Eliza Wilmot