Princeton--your passion for the theater has always been inspiring.
And Namo--for you to say anything at all positive about Diane Paulus is impressive. For you now say she has created "the best of all possible Pippins" is like Scrooge's transformation at the end of A Christmas Carol.
I checked yesterday morning for seats because I really wanted to see this again, and there were still quite a few available for the remaining days of the show. For various reasons I had to hold off one more day. I go to see what's left this morning, and EVERY friggin' show is sold out! So bummed...
I saw Pippin on Sunday, January 6. Have always loved Pippin. Saw it at the Papermill several years ago and am very familiar with the DVD. Familiarity with the old can make it tough to appreciate the new revival. I thoroughly enjoyed this new Pippin and am thrilled it is transferring to Broadway for more to enjoy.
Of course I had hoped specific nuiances in the choreography would be there and they were. I enjoyed the acrobatic additions without feeling like it compromised the historic Fosse choreography.
Patina was great. She outright proved that the Leading Player does not have to be played by a male. Loved her expressions and vocalizations that did not disctract but enhanced the songs. If this is recorded I would purchase a new cast recording. I don't for all revivals but enjoyed the singing of all performers quite a bit.
Not going to go performer by performer but a few things that jumped out - aside from Patina...
WOW Go Andrea! Did NOT see the dazzling end of her stunning number..the costume change (not going to describe it more for those who didn't see the show) and then what she actually did. She also looks like she has frozen her age. She looked spectacular.
I was not impressed by Charlotte. She did ok but she wasn't the wow sexy vixen I felt the role needed. Beautiful woman but didn't push it over the top in my opinion.
Two of the "phrases" that the young boy blurted out I was not thrilled with. I am not a prude in any way. I don't know if this was in the original script. Did not feel it fit for his character to blurt out to Pippin "Bite me" or the next off color term he used which I actually forgot. Don't think it was necessary for his character to say that. I thought the role was a little more innocent but based upon the new ending I might give a bit more room. I did like the addition to the ending - which I also won't give away.
Really enjoyed the circus atmosphere and did not think it took away at all.
Even though I admit I love Pippin...I did get a dragging feeling toward the end of Act 1.
^ Glad to hear you enjoyed it. I first saw it in previews and still very much loved it despite the 2 minor issues you mentioned.
It turns out I will be seeing it again. Even though all listings showed "sold out" next to them this morning, I checked a little while ago and found a seat available. Someone must have cancelled. So happy now!
Theo's role as "adorable boy" has evolved from the Schwartz-Fosse original in which he essentially WAS an adorable and relatively innocent boy, albeit one who said what he thought and did not trust Pippin, to his being a surly teenager who was anything but adorable, but gradually came to accept this not-much-older man as a surrogate father figure, to being somewhere in between- a less than pleasant youngster in the modern mold.
Saw it. Absolutely incredible - I've never been a huge fan of the original (I played the title role and I was never quite able to wrap my head around the show) but this production has totally converted me. Brilliantly done. Nothing I can really say that hasn't already been said. GO SEE IT.
I hope this succeeds far and above everyone's expectations...especially those on here who are so quick to shoot it down based on ill-conceived notions.
Big picture...sat fourth row when I watched it, and I feel like I missed a bit of some things going on. Although it was nice being able to see facial expressions, sitting further back is the way to go for this production to appreciate the acrobatics and dancing.
I'm going to try to post the image from the Music Box...well, it didn't work. The I saw that there was a whole bunch of pictures on the front page. Don't mind me.
I just got back from the matinee today, my 2nd time. It's such an eyegasm!!!
So there were a couple of changes that I noticed by the end of Act I. They removed Fastrada's dance section from "Spread a little Sunshine," and changed her costume. She played the role sexier this time too. She was smokin' hot! They also removed/changed the scene (I think towards the beginning) when they imply the incestuous nature of Fastrada's and Lewis' relationship. I think that's why I was puzzled when someone else in this thread mentioned that they didn't see that at all in the show.
They cleaned up the Act II wonderfully in regards to Pippin, Catherine, Theo. Overall the whole production was pretty much perfect - very tight and cohesive. Although I wish they had kept the things in I mentioned above, I can understand why they probably decided to remove it. The first act even felt a little shorter. Nothing about it dragged for me this time, and I am still in awe of this ensemble.
After the show, they announced a Q&A with the cast, so I stuck around to listen. Not too much more revealed than we already know. But someone did ask Paulus if the cast and pit was going to transfer. She didn't answer directly, but did imply that they were "going to treat the time off between the transfer like a road trip with the acting troupe. " And that "they were going to still work on the show to keep making improvements," something to that effect anyway. She also mentioned that the stage at the Music Box theater is smaller than at the Loeb, so there will be adjustments made.
"For this production, is it better to sit close to see faces and details, or further back to take in the bigger picture?"
- The first time I saw it, I sat in the second row, and it is thrilling to see all the expressions on the actor's faces, and to be part of some interaction with them. But you do miss out on the overall picture. Today I sat in the last row, and it was just great to be able to see everything all at once. I'd say go for the middle if you can only see the show once. I think you could see it multiple times, and still miss some of the nuances.
That first "article" is one of the worst written things I've seen in a long time. (And I'm fairly sure I've read other things from the writer and felt simalarly -- and shocked that she taught writing, at any level.)
Then I read the interview and thought maybe it was just all bad reporting here on BWW -- and realized they were written by the same person. Oy.
Jesus, really? On the strength of your dis I just went and read both the articles and I liked them fine. A couple things that could've/should've been cleaned up in editing, but I don't think that happens much anywhere nowadays, especially on websites where writers don't get paid.
I especially loved the interview, I really like the essence of the conversation with Terry and Charlotte. It just goes to show ya, it takes all kinds, I guess.
Just getting back from tonight's performance. Cannot give enough glowing praise to this production. What a breathe of fresh air and a delight from start to finish!!
My biggest surprise and delight was in the character of Catherine and the delightful Rachel Bay Jones. She brought such comedy, warmth and realness to the role and I adored every moment of hers.
The whole show is in great shape, I look forward to hearing more from it as it makes it journey and am crossing my fingers for a Cast Recording.
One of the things about the Talkback with the cast that they didn't mention in the article was how some of the teenagers in the audience had just finished a workshop with Gypsy Snider. In the workshop, she taught them about hand movement nuances and how it can portray control. They were thrilled to see some of that utilized in the show by the LP, something I didn't notice until I saw it the second time.
Also, it came up that early on in the original production, the cast would go into the audience and invite them up on stage. Apparently as the show become more popular so did that part of the show, and too many people would start running up. So they had to change it to what they do now. Apparently they tried that in early previews at the A.R.T., and found that to be an issue as well. Seems like they are leaving no stone unturned.
I enjoyed the show even more the second time! I think this was mostly due to sitting a bit further back and getting a better view of everything going on stage. I didn't really note that many changes from the first time (12/19). There might have been a few slight changes in blocking in Act I, and I thought Charlemagne's entrance was different...but nothing major.
The opening of show is absolutely spectacular...you could just FEEL the anticipation of what's behind the curtain when the Leading Player walks out, and when it falls, you are not disappointed. Patina Miller is perfect as the Leading Player. The end of Act I (Morning Glow) is also breathtaking. It's really impressive how good the chorus sounds, given that a good number of them aren't trained primarily as singers.
Anyway, this production is incredible. Watch it. Support it.
I can't imagine any of these cast members not transferring with the show to Broadway unless they have something else contracted. They'll likely add a few extra swings/understudies, but I would hope we see this entire cast on Broadway come March.
Wow, I'm going to have to eat my words. I NEVER thought I would want to see another production of Pippin, but after reading everything about it, I really do.
I caught the final performance of this at ART today. This show is going to be a huge hit. Not only does the circus aspect work seamlessly with the show, but there are a THREE tony-worthy performances in the show.
Before I get to those, I want to commend Diane Paulus. She can be a bit polarizing, but she has absolutely given one of the best productions of this show possible. I watched the original on the bus ride back and really appreciated what she did with this show.
First and foremost there is magic and spectacle. The staging is beautiful, and effective. Morning Glow was simply powerful.
Secondly, there are some incredible performances in this cast. Andrea Martin walks away with the show in one swift moment and I was still thinking about that scene long after it was over. Patina Miller is simply incredible, and brings far more enthusiasm to this role than I saw from her in Sister Act.
I cannot say how much I truly enjoyed this. I will most definitely be back to see it on Broadway. A knockout.
Bea Arthur Nude Sells For Nearly $2 Million At Auction
Drama Desk Award Winners - MATILDA, VANYA AND SONIA, PIPPIN, VIRGINIA WOOLF & More!
John Bantay Talks to Richard Jay-Alexander About Musical Mondays Farewell
STAGE TUBE: Join Them! Watch the PIPPIN Cast on Letterman!
CHUCK Star Zachary Levi and Krysta Rodriguez Set to Lead FIRST DATE
Photo Flash: First Look - Tomorrow's Season Finale of LAW & ORDER: SVU
VIDEOS: New Clips from Seth Rogen's THIS IS THE END Released
Rooney Mara is the Face for New Calvin Klein Scent
VIDEO: She & Him Release Music Video for 'I Could've Been Your Girl'
EA Announces Battlefield 4 for Xbox One and PlayStation 4
BWW Blog: Leah Edwards - Practice. Perform. Repeat
BWW Reviews: Blue Lapis Light's Encore Engagement of HEAVEN-EARTH-ONE is Heavenly
2013-2014 Season Highlights at Carnegie Hall
joined:3/11/04
Posted: 1/1/13 at 09:29am