BWW Reviews: Bob Fosse Magic Comes to Austin with PIPPIN
By: Jeff Davis Aug. 01, 2013
The 1972 musical about young prince Pippin's search for meaning and purpose in his life is incredibly tuneful ("Magic to Do" and "Corner of the Sky" have become Broadway standards), but the book by Roger O. Hirson is somewhat challenging. Hirson seems just as lost as Pippin does at times, and the final scene is a bit of an oddity. The current Broadway revival tries to hide the show's problems underneath a bevvy of elaborate acrobatic tricks, but this production's director/choreographer, Ginger Morris, makes no attempt to hide how Pippin is a weird, clunky, dated show. Strangely, that's a wise choice that pays off. The production almost feels like a time capsule from 1972, complete with Fosse's original choreography and vision. The replication of Fosse's work is particularly nice to see during "Glory," in which a holy-war battle is re-enacted with some tongue-in-cheek humor and some horrifically real images of blood, guts, and severed limbs. While other productions take the violence out of the number and turn the sequence into something harmless and frothy, Morris goes with Fosse's original vision, and the effect is both disturbing and amusing.
The nods to other notable productions of Pippin continue with Teresa Carson's set and Ellie Blackwood's costume designs. Carson adorns her set with circus posters and pennants, a clear tip of the hat to the look of the current revival, and Blackwood's costumes pull from both Broadway productions. Some pieces are sleek, black, Fosse-esque outfits while others are more circus inspired. Overall, the design work creates a bizarre, eclectic world that completely fits the peculiar, eccentric material.
The cast, as is to be expected from SummerStock Austin, is assembled from some of the youngest and most talented triple threats in Central Texas. Every performer, whether they are in an ensemble, supporting, or leading role, is astonishing. As Pippin's grandmother, Berthe, Monique Borses proves to be an enchanting character actress who hams it up in her scene-stealing cameo role. Alec Cudmore is wonderful as Pippin's father, King Charles the Great. What starts as a caricature of the many dim bulbs who have found their way to power, Cudmore's performance slowly adds a bit more flavor and thoughtfulness. He uses his biggest number, "War is a Science," to show off his great, rich baritone voice, and his monologue towards the end of the first act earns some well-deserved applause.
Taylor Edwards turns in an equally effective performance as the evil Fastrada. She's deliciously evil as she milks the comedic villain role for all it's worth, and her when she dances, it's as if you're looking at any of Fosse's great female protégées (Gwen Verdon. Chita Rivera. Anne Reinking. Pick your favorite). As Catherine, Pippin's eventual love interest, Sarah Yoakley is brilliant. She has a lovely voice, strong comedic timing, and gives the character such earnestness and honesty. Her renditions of "Kind of Woman" and "I Guess I'll Miss the Man" are perfect, and she's able to turn what is often an unmemorable role into an unforgettable one.
But the two most memorable performances come from Vincent Hooper as the Leading Player and Gray Randolph as Pippin. Hooper's take on the Leading Player is charismatic and charming but also dangerous and threatening. His performance comes off as a mix of Ben Vereen and Michael Jackson. The end result is a cool, sleek, debonair, and devilish character who demands attention. Every moment, gesture, pop of the eyes, and point of the finger has purpose. A true showman, Hooper dances with incredible precision and sells each of his numbers with effortless ease.
As Pippin, Gray Randolph is downright remarkable. He makes the most of his sweet but powerful voice, particularly on "Corner of the Sky," "Morning Glow," and "Extraordinary." Though as strong as his singing is, Randolph's acting is the true standout of his performance. He takes what must be one of the most unsympathetic protagonists in musical theater and makes us love him. While other Pippins come off whiney and detestable (William Katt is the televised/DVD version from 1981 immediately comes to mind), Randolph plays the role as an inquisitive young man lost on his journey towards self-fulfillment. There's an innocent curiosity to him, and aside from some criminal activity at the end of Act One, we've all been in his shoes and can sympathize with his desire to find his place in the world. To top it all off, Randolph is an excellent dancer as well. When paired with Hooper in the Act Two opener "On the Right Track," you realize you're watching two stars on the rise.
With its strong direction and choreography, eye-catching design, and brilliant performances, Pippin is highly gratifying, immensely pleasing production. Lovers of musical theater need to head down to The Long Center to catch this spectacular show.
Running time: Approximately 2 hours and 25 minutes, including one 15 minute intermission.
PIPPIN, produced by SummerStock Austin, plays the Rollins Studio Theater at The Long Center for the Performing Arts, 701 W. Riverside Drive, Austin, 78704. Performances are Saturday 8/3 at 2pm, Sunday 8/4 at 7:30pm, Tuesday 8/6 at 7:30pm, Thursday 8/8 at 7:30pm, and Saturday 8/10 at 7:30pm. Tickets are $12-18 for students/seniors and $20-25 for adults. For tickets and information, visit www.summerstockaustin.org.
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