Review: PIPPIN at Garden Theatre

“Everything has it’s season, everything has it’s time..” So goes the lyrics of “Corner of the Sky”, one of the most well-known songs from Stephen Schwartz’ and Roger O. Hirson’s Tony award winning musical, PIPPIN. And it seems, that for the Garden Theatre’s latest production of this classic, now is the season and the time for a production of PIPPIN that not only brings this story to life for a new generation but does so in a new and inclusive way - incorporating deaf actors and American Sign Language (ASL) at the very heart of the show. I am pleased to say that this new approach works marvelously well – elevating the performance by adding elements that give new meaning to the story unfolding on stage and creating an evening of theatre that is magical, memorable, and unlike anything you are likely to have seen before.

PIPPIN, with music by Stephen Schwartz (WICKED) and book by Roger O. Hirson, originally premiered on Broadway in 1972 with choreography and direction by the legendary Bob Fosse and was revived on Broadway in 2013 to great acclaim. The musical tells the story of Prince Pippin (Lane Breimhorst, Shadow – Edwin J. Perez II) who returns home after graduating college to the court of his father, Charlemagne (Christopher Russell), emperor of the Holy Roman Empire, eager to find his purpose and live an extraordinary life. Unsure of what direction he should pursue, Pippin tries many things, including War, Sex, Revolution, Religion, and the Arts – none of which bring him the fulfillment he so desperately seeks. It isn’t until he meets the widow, Catherine (Samm Carroll) and her young son Theo (Callahan Taylor) that Pippin begins to realize that life doesn’t have to be a spectacle to have great meaning. Along his journey of self-realization, Pippin is guided (and goaded) by the enigmatic Leading Player (Treshelle Edmond and Remi Veronica) and aided and advised by his family – Stepmother Fastrada (Tay Anderson), Half-Brother Lewis (Claudio Medina Jr.) and Grandmother Berthe (Megan Orlowski).  

Over the years, many different interpretations of PIPPIN have been mounted including the dark and mysterious original production and the more colorful (and acrobatic) revival. In the Garden Theatre’s production, the setting is more contemporary (the program even notes the setting as 1968 Haight Ashbury and 780 A.D. Holy Roman Empire and thereabouts). This serves, in a way, to depart from the more fantastical fairy tale of the original and ground the ideas and emotions in something more relatable and real. This works particularly well at the end of the first act when Pippin decides to protest his father’s wars and aggression, with the cast carrying signs and evoking the protests against the Vietnam War. By creating a modern link, director Rob Winn Anderson brilliantly captures the human emotion at play throughout the show. As an audience, it is hard not to feel Pippin’s struggle on a personal level, and Mr. Anderson’s strong directorial choices throughout the evening ensure that even when bright, colorful, and fantastical, the action still feels authentic and familiar at its core.

As mentioned, what also sets this production apart (and makes it quite memorable) is its inspired employment of ASL and inclusion of deaf actors to bring the story of PIPPIN to life on stage. More than just literal interpretation of the lyrics and dialogue, the ASL employed by all the actors onstage create a beautifully executed second layer of choreography, adding depth and additional color to Stephen Schwartz’ soaring score. This is particularly powerful in a few select moments where all else drops out and only ASL remains – illustrating the power of the visual language. Michelle Mary Schaefer, who provides Artistic Sign Language Translation and Direction, captures a beauty and energy that is thrilling to witness. Deaf actors Lane Breimhorst, who plays Pippin, and Treshelle Edmond, who plays the Leading Player (Pull), both do a fabulous job bringing their characters to life on stage. As Pippin’s shadow, Edwin J. Perez II gives voice to Pippin’s dialogue and songs, and boy, what a voice. Mr. Perez is thrilling to hear – delivering soaring performances that run the full emotional spectrum – from bold and grand to soft and introspective. This is well matched by Mr. Breimhorst, who gives the same energy and powerful emotion to his performance as well. Remi Veronica (the push to Ms. Edmond’s pull) also does a marvelous job with the Leading Player’s vocal gymnastics and as a pair Ms. Veronica and Ms. Edmond create the mysterious Leading Player as a two-sided, ominous entity.

The entire cast of the Garden Theatre’s PIPPIN is magnificent. As Charlemagne, Christopher Russell is well suited for the brash and sometimes oblivious king. As his conniving wife, Tay Anderson infuses Fastrada with a sense of glee and subterfuge that is extremely fun to watch. As her dimwitted son, Lewis, Claudio Medina Jr. does a great job preening and mugging for the audience. Megan Orlowski is fun and fantastic as Pippin’s young-at-heart grandmother, Berthe – leading the audience in a sing-a-long that brings a smile. And as Catherine, Samm Carroll gives a strong performance, including a hauntingly beautiful rendition of “I Guess I’ll Miss the Man”. Finally, as her precocious son, Theo, Callahan Taylor does a great job – impressively handling the dialogue and ASL like a pro. One of the things that really stood out across the board was the quality of every voice on stage – every performance, from the ensemble numbers to the solo songs was dynamic and powerful.

The creative team for Garden Theatre’s PIPPIN creates a beautiful tapestry on stage. Cindy Bonnett Wilson’s choreography is crisp, energetic, and flows with a sensuality and urgency that is thrilling to watch. She also (wisely) chooses to include moments inspired by Bob Fosse’s original choreography, including his iconic “War” trio and “Simple Joys” frolicking. George Jackson’s colorful and fitting lighting design, Amber Wilkins’ video design (including some fun elements on the backdrop throughout the show) and Anthony Narciso’s Audio design create the proper mood, effectively punctuating Mihai Ciupe’s simple but visually exciting scenic design. J. Ethan Henry’s costumes are creative and clever – from Pippin’s crocheted cloak, to the Leading Players’ contrasting ensemble, to the feathered armor of Charlemagne’s army, the costumes are brilliantly designed and realized. Finally, Chris Endsley does a great job as music director, ensuring the beautiful score soars throughout.

PIPPIN, presented by The Garden Theatre, runs through September 15th.  Performances take place at The Garden Theatre, 160 West Plant Street, Winter Garden, FL 34787. Performances are Thursdays – Saturdays at 7:30 pm, Saturdays and Sundays at 2:00 pm and Thursday September 12th at 2:00 PM. Performance with ASL interpretation on Friday, September 13th at 7:30 pm. Tickets can be purchased by calling the Garden Theatre box office at 407.877.GRDN (4736) ext. 0 or visiting https://gardentheatre.org/event/pippin/. For more information visit https://gardentheatre.org.

ABOUT THE GARDEN THEATRE
Located in the heart of historic downtown Winter Garden on Plant Street, Garden Theatre is a nonprofit organization committed to providing programming from the spectrum of the arts to engage, entertain, educate, and inspire all who experience it. Originally built in 1935 as a single-screen cinema, Garden Theatre was restored and reopened in 2008, keeping the Mediterranean Revival style, modeled after a Spanish courtyard with “Romeo and Juliet” balconies and a dark blue ceiling resplendent with stars. Garden Theatre hosts live plays, concerts, movies, and more to the residents of and visitors to the city of Winter Garden.

Photos by Bagwell Photography

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