BWW Reviews: Catch PIPPIN Flying At The Hippodrome

For those of you who already know and love the show PIPPIN, here's the short version: The costumes are exquisite, the tech is spot-on, the theatrical device employed for this travelling show (which is, by the way, equity) not only works but works beautifully, the gorgeous space of the Hippodrome frames the production nicely, all the performances are happily satisfactory, some superlative and at least one, stunning. There's a new ending; don't panic- it's better. Seats on the floor are reasonably comfortable, seats in the upper portion of the theatre, a little more, uh, neighborly. If you buy a beverage at intermission- oh yes, there is one- you're permitted to carry it into the theatre. Lot and garage parking are available nearby, between $5 and $12, plus some street parking but don't count on it. PIPPIN looks fabulous at the Hip.

Now, on to the rest of you who know nothing about PIPPIN and may want convincing. PIPPIN is a deservedly beloved show which features a band of Players who explain that they shall present for your enjoyment the tale of Pippin, son of Charlemagne. They then proceed to do so, poking lots of holes in the fourth wall along the way. These songs represent some of Stephen Schwartz's early work, twenty plus years before WICKED. The show was originally conceived and directed by Bob Fosse, and due to choreographer Chet Walker's "In The Style of Bob Fosse" work, there's a lot of him still there, despite his unrecent demise.

PIPPIN is chock-a-block with seventies sensibilities. From a writing standpoint, the show falls apart in the second act with a prolonged quotidian sequence that is a sharp contrast to the quick-paced flashy overproduction of the first act. The show was originally designed for intermission-less performance, which probably highlighted a progressive downward spiral into the existential despair that 90% of life is maintenance, and really nobody does great things, and that's probably okay but still numbingly disappointing. The seventies sort of sucked.

This musical opened after the Kent State shootings but before the Watergate scandal broke open. Much of the entertainment that originated in the seventies was edged with bleakness, despair and the certainty of the atomic bomb. The costumes of the Players were a blend of Vaudeville, Venice and Vegas. Since then, PIPPIN has been re-imagined with pirates, Vikings, Flappers; featuring punk rock; as Commedia or Burlesque. For its recent Broadway re-boot, director Diane Paulus planned to incorporate theatrical circus, a natural but challenging choice. To that end, she chose Gypsy Snider to create a circus inside the musical, which the pedigreed circus veteran handily does with stunts and illusions that are impressive and sustainable. To those in the know, it's evident which Players are circus performers and which ones are ensemble singer/dancers (hint: check the arm muscles), but the blending of the styles is smooth and competent- no one is attempting feats outside their respective skill sets, everyone gets in on the act and -bonus!- looks good doing it. Brilliant immediately is Dominique Lemieux's fantastic form-fitting costuming, which allows movement, conveys character, blurs the line between Broadway hoofers and New Vaudevillians and is in all ways simply magical.

Incorporating circus arts into the show moves it into a three-dimensionality that the original production lacked. Things happen upstage, downstage, center- on two and three levels of space. The whole thing ends up being a great deal more spectacular and exuberant than the show Fosse and company presented, and considering Fosse's preference for darkness, I'm not sure he'd approve.

I hate when reviewers tell the plot of the show, so I don't do that. Instead, I'll mention what to look for when attending, because there are some outstanding exquisite jewels in this production. First, pay attention to one of the Lions of theatre, John Rubinstein, who originated the role of Pippin on Broadway in 1972, joins the cast as Pippin's father Charlemagne for this tour and is just lovely. Of course, male actors over 50 often get good roles, but what about the ladies?

Wish granted: do please admire Adrienne Barbeau as Berthe- she's not centrally featured in most of the show- the character actually seemed rather incidental to the plotline- but it's probably worth your ticket price just for her amazing number. Also stellar is Sabrina as Fastrada, Pippin's step-mother. Somehow, her costumes look even shinier than everyone else's, more freshly minted, more exquisitely tailored, and her dancing made me want more of her dancing. Observe the ensemble and notice Borris York, whose comic portrayal of a farm creature animates (forgive me) the extended Ordinary Life segment of the show. As Leading Player, Sasha Allen is enticing, almost but not quite, friendly, sliding occasionally into sinister, and does an excellent job personifying the allure and danger inherent in the tightwire edge of Extraordinary Living.

The ending of the show, which is new for this revival, is starkly dramatic and not at all the 'usual' Broadway Musical Theatre fare. It's a great improvement over the original ending (I checked) and provides a sense of continuity, plus the opportunity for a proper finale.

PIPPIN does what musical theatre ought to do: hooks you with a great opening number, gives you characters to love and hate, treats your senses with song, dance, costuming, sets and lights and offers fresh perspective on a timeless theme. This production of PIPPIN, with its flamboyant acrobatics and marvelous illusions, does even more than that.

PIPPIN plays at the Hippodrome through Sunday: Friday, June 27 at 8 pm, Saturday June 28 at pm and at 8 pm,

Sunday June 29 at 1 pm and 6:30 pm.

The Hippodrome

12 North Eutaw Street

Baltimore, MD 21201

410-837-7400

Photo credits: Adrienne Barbeau- Sara Harena; John Rubinstein & Sabrina Harper- Terry Shapiro; Sasha Allen and the Players- Terry Shapiro

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