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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

 

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Pippin

Pippin

★★★★

The Garden Theatre

Pippin

Pippin

 The Garden Theatre

Reviewed – 17th September 2020

★★★★

 

“fast-paced and engaging”

 

These last seven months have taken a toll on the best of us, least of all this reviewer, who was beyond excited to have an energetic performance of the 1972 musical Pippin, directed by Steven Dexter, at The Garden Theatre in Vauxhall mark her return to attending live theatre. Upon taking my seat, the excitement in the air was palpable. Certainly, many in the audience will have felt the theatrical lacuna caused by lockdown restrictions. So, to begin, a thank you to all who worked towards making this show possible whilst abiding by the government’s safety guidelines.

Secondly, the show itself. Pippin follows the young prince Pippin (Ryan Anderson), son of the great leader Charlemagne (Dan Krikler), on his search for a significant and fulfilling life. Along the way, Pippin must contend with his self-obsessed stepbrother Lewis (Harry Francis) and his power-hungry stepmother Fastrada (Joanne Clifton) who have their eyes on the throne. Pippin must also navigate a mysterious fourth wall-breaking chorus led by the aptly named Leading Player (Tsemaye Bob-Egbe) whose motives are questionable to say the least. When Pippin meets the widow farm-owner Catherine (Tanisha-Mae Brown) and finds purpose in a simpler life, Pippin must confront what really makes him happy and whether his pursuit of ‘the extraordinary’ is really so wonderful at all.

The cast have great chemistry and work effortlessly together. Anderson’s range is phenomenal. He is as convincing when playing a son desperate to impress his nonchalant father as he is as an anguished young man torn between two drastically different life paths in his final scene. Clifton is also particularly strong in her role as Pippin’s grandmother Berthe, performing a lively and hilarious rendition of the song ‘No Time At All’ in which the audience were encouraged to sing along.

Psychedelic wall hangings and plants surround the courtyard that acts as the stage (David Shields). The stage itself is for the large part empty, excluding a bench and a set of boxes that are periodically set down to act as seating or dance apparatus. Incense burns throughout the performance and the cast are decked out in hippy garb, tying the ‘peace and love’ theme together nicely. Props are cleverly hidden amongst the foliage, the best of which is a tambourine which has a dual purpose of crown and instrument.

The performance space is surrounded by a plethora of different lighting. Fairy lights – both gold and blue – intermingle amongst the greenery and trellises while bulbed lights and a disco ball hang above centre stage. The lights are well-timed to flash and change colours to reflect the mood on stage.

The songs (Michael Bradley) are well performed and accompanied by dynamic choreography (Nick Winston). Krikler gives a standout performance of ‘War is a Science’ and the dancing is particularly strong during ‘On the Right Track’ performed by Anderson and Bob-Egbe. Brown provides good backing vocals before stepping into her own in the role of Catherine and the song ‘Kind of Woman’.

Pippin is a fast-paced and engaging musical, especially in its latter half, and the cast and crew should be proud of their spirited performance. Music and laughter abound, Pippin finds new meaning in these strange times, when we all have been forced to reflect on the simple pleasures of life and consider what truly makes us happy.

 

Reviewed by Flora Doble

Photography by Bonnie Britain Photography

 


Pippin

 The Garden Theatre until 11th October

 

Last ten shows reviewed by Flora:
Julius Caesar | ★★½ | Lion & Unicorn Theatre | January 2020
Scrounger | ★★★★ | Finborough Theatre | January 2020
Something Awful | ★★★★★ | The Vaults | January 2020
Tribes | ★★★★ | Putney Arts Theatre | January 2020
Important Art | ★★★ | The Vaults | February 2020
Jekyll & Hyde | ★★★½ | The Vaults | February 2020
Minority Report | ★★★½ | The Vaults | February 2020
The Six Wives Of Henry VIII | ★★★ | King’s Head Theatre | February 2020
Julius Caesar | ★★★★ | The Space | March 2020
The Haus Of Kunst | ★★★ | The Vaults | March 2020

 

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