That makes more sense. I still think as Fosse saw it (not saying I agree or not), with Pippin's final decision that his rather mundane life wasn't a bad way to be, the LP no longer has any power.
Eric, darque - thanks for the info and insights! On one hand you have the theme of depression. On the other hand, the theme of abandonment? You could also throw in deception, horrors of war, and a probably a few others. Rather dark indeed.
So Paulus' theme is "how far are you willing to go to be extraordinary?" I think that is what I find fascinating with this show - how will she incorporate her theme w/o interrupting what was already there?
For whatever it's worth, this "blurb" as in this morning's AMNY:
Boston 'Pippin' revival heading directly to B'way Although it just started previews at the American Repertory Theatre in Boston, it looks like Diane Paulus' ("Hair") revival of the 1970s musical "Pippin" will transfer straight to Broadway. The buzz is that this is a spectacular show that incorporates the original Fosse choreography. And based on the early production pics, Patina Miller ("Sister Act") looks incredibly sexy as the Leading Player.
The pictures do look great. I look forward to seeing Andrea Martin as Berthe.
I was thinking about the original production and wondered what Irene Ryan looked like as Berthe. As I was searching the web, I found a recording on youtube of her singing "No TIme At All" - not in the show as I had hoped, but it was a recording for a single released by Motown in 1972. I don't ever recall hearing that on the radio. Did I just miss it, or was it never played on radio? It's a bit more pop sounding, but fun to listen to. Wish they would've put that on the re-mastered CD instead of those hideous covers by Jackson 5 and Supremes. Here's the link, if anyone wants to check it out:
Funny story, I actually knew a guy who directed a regional production before Papermill's who knew Schwartz personally and asked Schwartz if he could edit the material and Schwartz said "well we have been thinking about this new ending..." and so he claims he technically did it 'before' Papermill.
My ideal ending would be if the LP (or is it Catherine?) asks "Well Pippin, how do you feel now?" And then the lights fade abruptly. The fact is Pippin feels both trapped AND happy to be with Catherine and not cave into the world of showbusiness. Therefore I don't think it's appropriate for him to say otherwise. That's just me though.
A transfer would be welcome in a season that's relatively light on revivals and there are so many empty theatres. The photos and everything I've heard look marvelous. I'm really hoping for a transfer since there is no way I'm getting to Cambridge.
My ideal ending would be if the LP (or is it Catherine?) asks "Well Pippin, how do you feel now?" And then the lights fade abruptly. The fact is Pippin feels both trapped AND happy to be with Catherine and not cave into the world of show-business. Therefore I don't think it's appropriate for him to say otherwise. That's just me though.
Read this article. Needless to say, there's a reason Fosse's way was the right way.
That was an interesting read! I was just getting a sense of some of the things mentioned about the show when I was watching the video this past week, and the article really does a good job pointing out details. Understanding what Fosse did, brings a whole other level to it. Too bad the video left these things out, it would've made more sense.
Well here's to hoping that Paulus' revival puts those things back, and doesn't opt for the watered down version. Schwartz may like his version better, but I hope her vision is greater than that. Guess I'll find out tomorrow when I see it.
Okay, so here are some thoughts on seeing Pippin today. What a truly incredible show! This is definitely a must see. It seems they've kept all the things that made it dark, and I felt that the whole thing tied wonderfully together with the circus performers. There were some nice little surprises throughout the show with both the magic and the acrobats.
The costumes were decent, make-up/hair, etc. was also well done. The circus performers wore the most makeup with some of the them having a little bit of a freakish clown effect to it. I really enjoyed some of the stunts they did.
All the actors did a great job in their roles. The standouts were Patina Miller, Andrea Martin, Terry Mann, Erik Altemus, and MJT. My wife and I were in the second row, so it was great to see them all up close. But I could see how sitting further back would make it easier to catch everything that is going on. Apparently Stephen Schwartz was in the theatre today too, but did not see him.
Magic to Do was awesome. When they lift the curtain part-way through the song, you get this rush from all the things taking place on stage. The energy is incredible. With all the dancing and the acrobatics, it is just fun to watch.
The talking head was funny. They must have hid that trap door well, because as close as we were to the stage, you could not tell that there was one there. All illusions were well done.
The orgy scene is good too. Different than the video for sure. A combination of acrobatics and dancing - along with the use of an animal cage. Maybe not quite as sensual, but I think that depends on the individual watching it. Costumes had to cover more than usual, probably because of the various acrobatics.
The music arrangements I thought were really well done and the orchestra sounded great. Everything sounded fresh and updated. Really liked how they closed out ACT I with Morning Glow in dramatic fashion. There are some nice musical arrangement surprises in this show as well. I look forward to the cast recording when it transfers.
SPOILER ALERT???
Andrea Martin just killed it onstage. The audience went crazy at the end of her song. She starts off wearing a modest outfit. Then at one point of her song, she throws it off to reveal a corset and matching whatever. As she's singing, she gets on the trapeze bar with one of the circus performers so that she is eventually suspended high in the air with him on the bar. Towards the end of the song, she is hanging upside down. It was entertaining to see and she looked great in that outfit! She just really got everyone going.
The Finale is spectacular as it should be. The ending used is the one where when Pippin and Catherine leave, Theo turns around to go back to the center of the stage and sings a bit of Corner of the Sky by himself. Then the players come back and sing Magic To Do. Even though the question “How do you feel?” is not asked, you really get the sense that Pippin is happy with them. Very well done.
** ALERT OFF **
So my only complaint is that it seems the whole scene in Act 2 with Pippin, Catherine, and Theo still needs something or some work. While it wasn't bad, it just drags a little with some of the pacing. I think since the other scenes are so dynamic, it doesn't come off as well.
Kudos to Diane Paulus and company. Looks like another hit on her hands. I hope to see it again before it leaves Cambridge.
I just saw this tonight. It's so-so, really. To be quite honest besides a few songs, I really wasn't a big fan of Pippin nor did I grow up with it, as many theatre geeks (the director included), did.
I tried to bring myself to watch the DVD, but really did not see it through. Some observations:
1-The story is really not that interesting to begin with. I tries to be deep, but in reality it's just a metaphor of a white middle class boy trying to find himself. The themes are really not that universal. The themes of war are a little tried and tested, don't you think? 2-Stephen Schwartz wrote to or three decent tunes for this show. I found the rest uninspired. 3-Acrobatic tricks good but I really don't care for them. 4-The Fosse dances were beautifully done. Patina moves really well, and Charlotte danced up a storm. 5-It got too long, and I got bored. 6-Andrea Martin is really impressive doing the things she did at this age. 7-Why Matthew James Thomas? I'm all about cross-union casting, and I think that the US needs to loosen up with this knowing how strict Equity is, but he's really not all that outstanding to land Spiderman standby and now the lead in this show.
I think if you like Pippin, you'd probably like this. I don't really have much of an emotional connection with the show to begin with, not did this production really blow my socks off.
I saw this tonight as well, and I agree with many of the preceding comments - especially with the "it went on for too long" sentiment. Act 1 was actually quite, quite good, yet I emailed a friend at intermission and wrote "I really like it; I just don't know why." It certianly wasn't an enthralling (or even very interesting) story. Patina Miller was fantastic throughout, and Andrea Martin brought down the house (though does not look/act/dance like a grandmother). As much as I enjoyed Act 1, I was very bored in Act 2. It started to feel like they were using the acrobatics to pad the show, and they padded it too much. During the last 20 minures I kept looking at my watch.
That said, everyone was is great voice, and it's always atreat to see husband-and-wife team Terry Mann and Charlotte D'amboise (playing a husband-and-wife!). The magic and acrobatics were indeed impressive, as was the choreography, sets and costumes. I can certainly see it garnering many awards come Tony time.
To answer the question; Vereen was scarey IMO from the very first sight of his face, frightenly lit by Jules Fisher, His presence was dangerous and it was hightened by his excitement of War and Suicide. Fosse made him attractive, also, of course but I have always thought the LP should be a threatening character and that has been lost over the years. Interesting to read good stuff about Patina. I will gladly admit to being wrong if she carries this off, I'm all for diversion when it works.
For those who have seen it and can tell, howmuch Fosse choreo is stil there? Sounds like the sex ballet for Pippin's adventure is very different. Are the dancers in the Pippin/Catherine copulation scene still there?
@Play it Again - I did notice at the bar, they had a sign for Pippin posters. I think they were $10. But that was it, and I didn't see anybody with one. It was probably like the one hanging outside the theater. I would've preferred a t-shirt myself.
@Curtain - some Fosse-like choreo is definitely still there and I think it's pretty much where you'd expect it, but sometimes there's so much going on, I wasn't keeping track of it. That's about all I could tell you. Regarding the copulation scene, the dancers are replaced by the acrobats, and It was funny and interesting how they did it.
Just wondered if anyone saw this notice on the A.R.T. website:
"There will be post-show discussions with the cast after the 2:00PM performances: Saturday, 1/5; Wednesday, 1/9; Saturday, 1/12; Wednesday, 1/16; Saturday, 1/19"
I got an email from them after the show asking to do a survey. I think one of the questions asked was regarding a group discussion after the show. At the time it didn't click, but this is what they must have been referring to - sounds interesting. Wonder if they'll allow for autographs, etc.??
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joined:10/31/11
Posted: 12/12/12 at 08:39pm