I'm going to start by admitting that the circus does not hold much interest for me. I've never been a fan of them and knowing that PIPPIN's revival on Broadway was a circus-themed extravaganza left me wondering if I'd enjoy the show. While I'm not going to be the next customer in line for Cirque du Soleil or anything like that, this PIPPIN at the Orpheum Theatre in Minneapolis wowed me and I found myself thoroughly enjoying the show by intermission. The acrobats in the cast were impressive and captivated the audience with their feats of strength and stamina.
The cast was strong overall, but the circus-trained performers were truly the highlight of the night with just enough of the hand stands, head stands, leaps and bounds, strong men and uber flexible women to keep things hopping, especially in Act 1.
The voices also were strong and the music was fresh, even though it still has the 1970s sound. "Morning Glow" and "Magic to Do" were highlights. The orchestra overpowered on "Glory" and "On the Right Track."
Sasha Allen (Leading Player) was the leader of the troupe in every way as she manipulates and coaxes Pippin and the people in his life towards her ultimate finale. Sam Lips (Pippin) was simply charming and while his voice waivered on a few spots, his youthful enthusiasm and boy-next-door good looks more than made up for those few moments. Priscilla Lopez, as the flexible and lovable granny, probably had the best moment of the show when she stunned the crowd with her stunts on the trapeze high above the stage.
Another fun bit of trivia: The original 1972 Broadway Pippin, John Rubinstein, plays King Charlemagne, Pippin's dad in this production. (Once I read the program I understood why the older couple in front of me in the audience cheered and clapped the moment he entered the stage. It could've been his TV show past, too, but I am guessing they were fans of his early Pippin work.)
Hometown girl Kristine Reese (Catherine), who was raised in a Minneapolis suburb, deserves a mention as one of Minnesota's own (a designation anyone who grew up here gets from local media) and has a lovely voice, plus, she took all the Leading Player's insults about her age and looks pretty well, considering she's also a lovely young woman.
The story of PIPPIN is one of a young man whose idealism sets him out on a mission to find himself and lead an extraordinary life. Pippin leaves school with accolades and wants more than just books so he tries war, then sex, then revolution, then politics and finally ordinary life, and finds each stage leaves him less satisfied and more disillusioned. It takes someone who's got it worse than him to lift him out of the dumps.
When I was a twenty-something in a production of PIPPIN, I understood the idealism of the beginning but less so the other stages of Pippin's life. Now with the benefit of years of life experiences since then, I appreciate more the lessons to be learned from Pippin's story. The stages of our lives come and go and things may not measure up to what we planned for ourselves but when ordinary life still has you down, you may find you need to live for someone other than yourself.
Early in the show, the Leading Player tells us this is the first time this Pippin has played the role, though the others on stage have clearly been around the block a few times. Throughout the show, cast members eagerly wish to jump ahead to the promised finale that we "will never forget." The climax of the story is the ultimate finale of life -- one that this Pippin refuses to star in, and the Leading Player throws a fit by shutting down the production and taking away all the lights, costumes, sets and magic. Clearly, this is the first Pippin that has turned down the offer to star in her final act.
PIPPIN plays Minneapolis' Hennepin Theatre District short run through Feb. 22, 2015. Tickets are available at www.HennepinTheatreTrust.org or 1-800-982-2787.
Take a look at some of the action in this video clip, then get your tickets to this dazzling production while you can see it here at home.
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