Tag Archives: Stephen Schwartz

PIPPIN IN CONCERT

★★★★★

Theatre Royal Drury Lane

PIPPIN IN CONCERT at the Theatre Royal Drury Lane

★★★★★

“The air is thick with the exhilaration that flows from the cast and ensemble”

“We’ve got magic to do, just for you… We’ve got miracle plays to play. We’ve got parts to perform – hearts to warm… as we go along our way”. Barely into the opening number, as the London Musical Theatre Orchestra reaches its crescendo and the ArtsEd Choir swells in beautiful unison, we know that these bold promises in the libretto will be fulfilled. Already our hearts are warmed. We are in for a magical ride. The fiftieth anniversary concert of “Pippin” at Theatre Royal, Drury Lane is nothing short of a miracle. The realisation comes with a shower of golden confetti falling over the auditorium as we look around expecting to see Simon Cowell wildly banging his Golden Buzzer.

It boasts a star-studded cast, led by… well – the ‘Leading Player’. Alex Newell commands the stage, their presence demolishing the fourth wall while their soaring vocals bring down the roof. For a moment we are in pure Motown territory. But we cover much more varied ground in this show-within-a-show musical that leads its protagonist on a rich journey in pursuit of fulfilment and purpose; of an illusory ‘American Dream’.

Jonathan O’Boyle has brought this fifty-year-old musical right into the present day, not just giving its over simplified social commentary a twenty-first century relevance, but also laying bare the inherent comedy within Roger O. Hirson’s book. The dialogue elicits just as many laughs as the songs prompt ovations. Tucked away are moments of philosophical satire that Voltaire would have been proud of. But let’s stay away from analysis and focus on the spectacle, for that is what this revival is all about. While the cast bring something new and fresh to the table, the authenticity is left intact. Joanna Goodwin’s choreography is modern yet full of timeless moments of pure Fosse, while Simon Nathan’s sumptuous orchestrations are simultaneously contemporary and traditional. Orchestra and choir are the set, a gorgeously visual and aural backdrop with Jamie Platt’s lighting pinpointing the action and locations with emotional accuracy. Not to mention Adam Fisher’s crystal-clear sound that highlights every nuance of the score.

 

 

Above all, though, this show belongs to the performers. Jac Yarrow seizes the title role with ease and charm. In fine voice throughout, his comic timing also comes to the fore as he relaxes into the part. By the time he meets his love interest in Act Two, the humour soars almost as high as his falsetto. Lucie Jones, as the widow Catherine who eventually captures Pippin’s heart, is simply hilarious. The more the fourth wall breaks down, the more she milks it for comic effect, yet she touches our hearts when she steals a solo number. Zizi Strallen, as wicked stepmother Fastrada, takes sassiness to new levels, all high kicks and splits, and spellbinding dancing. Patricia Hodge plays the grandmother with a knowing wink – raunchy yet wise, grounded yet with a lust for life. She’s no singer but she sure has the mojo.

For a musical, the characters have a surprising number of dimensions, which the performers draw out with unabashed joy. Cedric Neal’s King Charlemagne is a gloriously comic tyrant, always poking fun at his own personality. The air is thick with the exhilaration that flows from the cast and ensemble. They all seem to be making fun of the show while celebrating it at the same time. And, boy, is it a celebration? Stephen Schwartz’ music and lyrics may not be high art, but the faultless singing ekes out emotions and meaning that past productions have sometimes failed to unearth. And at the helm is Alex Newell. Although not quite in charge of their insubordinate players who eventually rebel against the script, Newell is definitely in charge of this show. The power of their voice leaves no argument.

The billing of the show is inaccurate. “Pippin” is, in truth, fifty-two years old this year. So, it’s not strictly its 50th anniversary concert. But who cares? It’s not really a concert either. It is far more than that. It is an extravaganza.


PIPPIN IN CONCERT at the Theatre Royal Drury Lane

Reviewed on 29th April 2024

by Jonathan Evans

Photography by Pamela Raith

 

 


 

 

Previously reviewed at this venue:

YOUR LIE IN APRIL | ★★★★ | April 2024
WILD ABOUT YOU – A NEW MUSICAL IN CONCERT | ★★★ | March 2024
HANDEL’S MESSIAH: THE LIVE EXPERIENCE | ★★★ | December 2022

PIPPIN IN CONCERT

PIPPIN IN CONCERT

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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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