Tag Archives: Edward Johnson

Pippin

Pippin

★★★★

Charing Cross Theatre

Pippin

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

 

Click here to see our most recent reviews

 

La Cage Aux Folles

★★★★

Park Theatre

La Cage Aux Folles

La Cage Aux Folles

Park Theatre

Reviewed – 19th February 2020

★★★★

 

“a gem of a play, tightly timed and focussed”

 

Simon Callow’s translation of this celebrated French farce is a triumph of hilarious camp, full of double entendres, sparkly dresses and genuine affection. Georges and Albin are a gay couple, living above the Cage Aux Folles nightclub. Albin is its ageing star who still looks good in a frock, but is no longer the sexy sylph. Georges is the harassed manager, continually fending of crises. They bicker and squabble, but, as Michael Matus and Paul Hunter show, they still love each other anyway. But their world is about to be turned upside down. Georges’ son Laurent arrives and announces that he is getting married, and that his girlfriend and her parents are coming to stay. Unfortunately the parents are conservative in the extreme, and the father is running for election on a ticket of morality and rectitude. How can Georges rearrange and tame his gorgeously queeny household and survive their arrival? That is the central dilemma that drives the action, and it is quite a task!

Syrus Lowe is a total class act as the screamingly camp and beautiful employee, Jacob. He struts and pouts his way through the play with a charming outrageousness and his attempt to walk in men’s shoes instead of his high heels is a masterpiece of physical comedy. By the time Laurent’s girlfriend Muriel and her the parents arrive the apartment has been transformed from its boudoir aesthetic to something almost monastic, complete with crucifix, Tim Shorthall’s design creating the physical changes Laurent persuades Georges to make, in his attempt to portray a ‘respectable’ family. Of course, it all goes horribly wrong. Laurent has invited his absentee mother to dinner much to the horror of Georges and Albin, and Albin has given up in his attempt to play the masculine uncle, opting for a totally different role that complicates everything. As the dinner party goes rapidly downhill the club downstairs is plunging into chaos and Georges has to act. Throughout the play other drag artists appear from downstairs and a reporter snoops around, looking for dirt. The reporter is played by Mark Cameron, who also has a hilarious cameo as the butcher, a tough guy macho man who turns out to have an unlikely love of art.

Jez Bond has directed a gem of a play, tightly timed and focussed, but feeling like an outrageous disaster as all good farce should. I hope this gets a transfer after it’s life at the Park. It deserves it.

 

Reviewed by Katre

Photography by Mark Douet

 


La Cage Aux Folles

Park Theatre until 21st March

 

Last  ten shows reviewed at this venue:
Black Chiffon | ★★★★ | September 2019
Mother Of Him | ★★★★★ | September 2019
Fast | ★★★★ | October 2019
Stray Dogs | | November 2019
Sydney & The Old Girl | ★★★★ | November 2019
Martha, Josie And The Chinese Elvis | ★★★★★ | December 2019
The Snow Queen | ★★★★ | December 2019
Rags | ★★★ | January 2020
Shackleton And His Stowaway | ★★★ | January 2020
Time And Tide | ★★★ | February 2020

 

Click here to see our most recent reviews