Review: PIPPIN at Shea's Buffalo Theatre

MAGICAL DOINGS MAKE FOR SCINTILLATING PIPPIN IN BUFFALO

The 1970's was an era of self discovery, rebellion and personal exploration. Broadway was morphing from the stock musical comedy formula towards the darker issues of life not usually seen on the musical stage . There was a young Stephen Sondheim delving into the deep interpersonal relations of marriage in COMPANY and FOLLIES, while Michael Bennett had gathered a group of young dancers who were exposing their inner demons and life stories in A CHORUS LINE. Meanwhile the composer Stephen Schwartz began his career with PIPPIN and would later write hit scores for GODSPELL and WICKED

Originally directed and choreographed by Bob Fosse, PIPPIN's book by Roger O. Hirson tells the story of a young man searching for a deeper meaning to his life during the time of Charlemagne. Guided by a theatre troupe and a traveling circus, his tribulations are set against a vaudevillian type atmosphere played out in a large circus tent.

This recent Broadway revival by superstar director Diane Paulus is receiving a dazzling new production at Shea's Buffalo Theatre. The winner of 4 TONY AWARDS in 2013, including Best Musical Revival and Best Director of a Musical, Ms. Paulus seems to be Broadway gold these days, breathing new life into the recent revivals of PORGY AND BESS and HAIR, while creating new musicals like the upcoming Broadway production of WAITRESS by Sara Bareilles. Paulus has staged PIPPIN in the circus arena, aided by acrobats led by Gypsy Snider of the Montreal-based circus company Les 7 doigts de la main (also known as 7 Fingers). This circus atmosphere plays upon suggestions in the the title number "Magic To Do." Paulus has a gift for re-invigorating what could come across as a dated relic of another era, employing visually stunning staging effects, while ensuring that no details of Pippin's life journey are lost. The multi talented acrobats beautifully complemented the dancing ensemble. Our ringleader, here called the Leading Player (played by Gabrielle McClinton), is Pippin's guide through life's joys and unexpected challenges. McClinton's dancing was exemplary in executing the Fosse-esque choreography by Chet Walker, with it's angular movements and isolated thrusts and struts.

Brian Flores was brilliant as the coming of age title character. His expository song "Corner of the Sky" sets the tone for his desire for a higher purpose in life. Flores possesses a strong voice that soared over the large company. His quirkiness and awkwardness were endearing and his energy was infectious. Bradley Benjamin is the lovely young love interest Catherine, who is a bit quirky herself. Their beguiling duet "Love Song" was tender and playful at the same time, being so reminiscent of the laid back acoustic music of the early 70's.

In a luxurious bit of casting, Pippin's father is played by John Rubinstein, who originated the role of Pippin in 1972. Meanwhile, Priscilla Lopez, who also was in the original production , and is best known for creating the role of Morales in A CHORUS LINE, now plays Pippin's grandmother, Berthe. Walker's intricate choreography has this grandma flying from a trapeze, instead of being confined to a rocking chair. Lopez is up for the challenge and is as graceful and lithe as the younger cast members. Her Act I song "No Time At All" had the large Shea's audience cheering for the agile granny, and culminated in a full out sing-along. Both Rubinstein and Lopez joined the most recent Broadway revival in 2014 before heading out on this National tour. Rubinstein seems to be enjoying himself on stage, imparting his wisdom with a bit of tongue in cheek coyness, while reveling in his power as king. Sabrina Harper , as the King's new wife Fastrada, got to strut her stuff in "Spread a Little Sunshine." Her alluring dancing was a mix of balletic grace with bump and grind sex appeal that was a hit with the audience, despite her desire to convince that she was an "everyday housewife."

Scenic design by Scott Pask was colorful and evocative, while the detailed costume designs by Dominique Lemieux took full advantage of the opportunities for a circus' playfulness.

The unorthodox ending to PIPPIN plays upon Pippin's metaphysical exploration, leaving the the audience to contemplate the meaning of his life. But such lofty matters need not deter anyone from enjoying this gloriously entertaining piece of theatre rethought for the 21st century.

PIPPIN is at SHEA'S Buffalo Theatre January 26 -January 31, 2016.

For tickets ($30-$75), call 1-800-745-3000, go to sheas.org or to the Shea's Box Office. For groups (15+), call 716-829-1153. Performances are Tuesday, Wednesday & Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 2 p.m. & 8 p.m. and Sunday at 2 p.m. and 7 p.m. Wednesday night post show Talk-Back with the cast included in Wednesday performance ticket.

Photos by Joan Marcus

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