BWW Reviews: PIPPIN, THE MUSICAL Magic, Razzle Dazzle Under the Big Top!

The circus is in town and I ain't talking about Barnum & Bailey! The national tour of the 2013 revival of PIPPIN made its way to the Bayou City and I'm hippopotamusly happy to see this tour! When creative geniuses such as Bob Fosse and Stephen Schwartz are at the helm of the original material, there's no denying that a musical theatre maven such as myself would be overzealous.

PIPPIN premiered at the Imperial Theater on October 23, 1972, and ran for 1,944 performances. Originally directed and choreographed by Bob Fosse with music and lyrics by Stephen Schwartz and a book by Roger O. Hirson, this musical stepped onto the scene and changed the game. Originally conceived at Carnegie Mellon University by Stephen Schwartz and titled PIPPIN, PIPPIN, the show went under construction by the great song and dance man Bob Fosse, and opened in 1972 with Ben Vereen as Leading Player. Fosse decided to direct commercials featuring repertoire and this was the first time that a commercial prolonged the run of a Broadway show. In 1973, PIPPIN was nominated for 11 awards and won 5. Best Performance by a Leading Actor in a Musical (Ben Vereen), Best Direction and Choreography of a Musical (Bob Fosse), Best Scenic Design (Tony Walton) and Best Lighting Design (Jules Fisher).

Now fast-forward to 2012 at American Repertory Theatre (ART) in Cambridge, Massachusetts. Diane Paulus is in the directors' seat and Chet Walker an original cast member steps in as choreographer. This new production revived this theatrical gem and added a twist; garnering a Tony Award for Best Revival of a Musical, Best Actress in a Musical for Patina Miller as Leading Player, Best Featured Actress in a Musical Andrea Martin for playing Berthe and Best Direction of a Musical.

I have to start off by saying that this musical had great moments and a few stumbles along the way, but I'll get into that later. PIPPIN is one of those musicals that seem to fall by the wayside but in 2013 the spectacle of the Cirque du Soleil acrobats recharged Fosse's vision. The story isn't as visceral as RAGTIME, but the score and original choreography puts this production in a world of its own. Bob Fosse had a knack for pulling out the finest in a score, libretto and choreography. He worked hand in hand with the composers and writers to bring a seamless piece of work to his audiences. Fosse was known for nuance, simplicity, and sexuality and this production of PIPPIN had a healthy serving.

The show's opening started with a mysterious statuesque silhouetted body with extended jazz hands. She performed the staple turned in (pigeon toed) broken doll walk that moved down stage towards the audience and the immediately grabbed the audience's attention. This single moment made the dancer in me happy. Even though the tempo seemed a bit fast for "Magic to Do" there was no denying the big moment when the large curtain fell to reveal circus performers and dancers in all their glory. The actors pulled us into this majestic world with the evocative slow-bun. A slow burn is an intense gaze that shifts slowly from one side of the stage to the other or from back to front. You can see it in Cabaret as Liza Minnelli faces upstage, then slowly turns in her chair to look at the audience before she sings "Mein Herr." Iconic moments such as these set a Fosse production aside from any other.

Brian Flores who played the title role approached the character with grace. His rendition of "Corner of the Sky" was fresh and youthful. The Act I Finale of "Morning Glow" was vibrant. Throughout this production, his performance came off manufactured but there's no denying the vocal prowess and stamina of this up and coming musical theatre leading man.

Making his way back to the production of PIPPIN is John Rubinstein (Charlemagne) who originated the role of PIPPIN on Broadway. His cunning comedic moments were the icing on the cake. Breaking the 4th wall he brought a sense of humanity to the zany production. Rubinstein's performance was nothing but genius. His rendition of popular patter song "War is a Science" added a layer of the classical Vaudeville style that Fosse was reared in. This was by far one of my favorite performances of the evening. I was disappointed in the Leading Players opening choreography to "Glory". Watching greats such as Ben Vereen and Patina Miller, there was a mixed variety in their choreographic delivery that made the choreography dangerous, sexy and complimentary to the narrative. Gabrielle McClinton's delivery lacked in intensity and abandon, but this changed as she walked upstage to join in the signature Anti-war ballet "The Manson Trio." The mind of Bob Fosse was demented, sadistic but yet genius. The juxtaposition in this number of mutilation and intricate dance sells this iconic number from start to finish. Titled "The Manson Trio" Fosse brought life's reality onto the stage reflecting on the cult following and killings of Charles Manson. The choreography was nailed with panache and power!

Adrienne Barbeau's (Berthe) performance was on the right track. She brought a youthful touch to the wise grandmother of Pippin. Her trapeze act was the highlight of the show. She was very graceful and it was a stellar performance. As Pippin learns to enjoy life and a little hanky-panky, he goes on the search for fulfillment and something lighthearted. Brian Flores' comedic moments in "With You" were spot on, but there is no denying Fosse's choreography as the highlight of this number. The dancers captured the sexual nuance perfectly. This number had moments reminiscent of Fosse's "Take off with us/ Airotica" from the hit movie ALL THAT JAZZ. There were moments when McClinton's performance paid homage to Sandahl Bergman's from the 1979 film.

Anytime you see a Fosse show, you are going to see the meat and potatoes of what it takes to be a triple threat. Fosse was a dancing man at heart and his vast repertoire is kismet for singer/ dancers. Sabrina Harper (Fastrada) gave the audience comedy, sex appeal and battements (high kicks) to the gods. In "Spread a Little Sunshine" the audience was given a classic Broadway solo dance number reminiscent of Cassie's "The Music and the Mirror" from A Chorus Line, and magical costume changes that had the audience gasping. This number was sexy and executed brilliantly by Harper. Costume design by Dominique Lemieux was flawless. From the reimagined ringmaster costume the Leading Player wore to the circus inspired prints and colors.

One iconic thing about this show is the music. The score is written by one of musical theatres most successful and talented songwriters. Stephen Schwartz has penned melodies that have transcended time and genre. Motown Records stood in as one of the producers of the original Broadway show. Diana Ross's rendition of "Corner in the Sky" and Michael Jackson's version of "Morning Glow" were pop hits of the early 70's. Watching the mature audience members bob their heads and mouth the words to these popular tunes was proof positive that this score is immortal.

Even with the sound issues in Act I and the torch incident in Act II this show is magical and introduces the theatre goer to the wonderful demented world of creative genius Bob Fosse. Fosse's choreography is difficult to master and these gypsies are giving their all. Life upon the wicked stage can be grueling and I want to tip my black Derby to these dancers and performers. Paulus and Walker are keepers of the vision, and this revival pays tribute to one of the American stage's greatest Directors/ Choreographers. I would recommend this play to a mature audience. It's not every day that you have the chance to see living legends on the stage!

Pippin's never ending quest to find happiness led to a deeper understanding of war, religion, and sex. As human beings we are all on a quest for something, be it in life, love, or personal relationships. Watching this show I had to ask myself questions these: Why not be Extraordinary? Why be ordinary? Why settle? Why die a copy when I was born an original? I love when the theatre makes you think. There's only one more day to see Pippin at The Hobby Center.

For ticket information please visit www.thehobbycenter.org

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