Astonishing PIPPIN at PPAC is a Spectacular Must-See

There are some shows that tempt a reviewer to write a lengthy essay going into great detail about the many reasons why the show succeeds or fails. Other shows make a reviewer simply want to say, "Just go see this show," and nothing more. While there is, of course, much to say about the touring production of the Broadway musical Pippin, now at Providence Performing Arts Center, the production's merits can absolutely be summed up briefly: See. This. Show.

A show that seems to be less appreciated than it should be, at least in relation to some of the big household-name musicals, Pippin should not be underestimated. Appearing on Broadway in the early 1970s, directed and choreographed by the legendary Bob Fosse, it always has been a fantastic, unique and wonderful musical. In the opening moments, the Leading Player greets us and tells us that he/she and a band of players will perform for us, presenting magic and miracles that will warm our hearts. Specifically, they will offer us the story of Pippin, first born son of King Charlemagne, a great king during the Middle Ages who ruled over western Europe.

While those two characters are based on actual people, Pippin is not a history play. It uses Pippin and his father as two characters, two archetypes, to tell its very big, very universal tale. From an early age, Pippin decided that he would do something great with his life. Something meaningful. Something spectacular and important. As he searches for that meaning and impact, and searches for where he truly belongs, he has many experiences, including war, sex, politics, the life of royalty, the creative arts, true love and the seemingly ordinary moments of a simple life. Along the way, he begins to realize that it may be those "ordinary" moments that are the most significant and meaningful of all.

When Pippin was brought back to Broadway in 2013, it won four Tony Awards, including Best Revival of a Musical and Best Direction of a Musical, along with a number of acting awards. Numerous other awards were bestowed on the production, which was directed by Tony winner Diane Paulus and choreographed by Chet Walker in the style of Bob Fosse. One of the many astounding achievements of this show is the way that Paulus has perfectly and seamlessly integrated a circus and a magic act into the original musical. That's not to say it's a musical that happens to have some circus acts in it. And it's not a circus that happens to have some people singing. It is a perfect fusion of a music, song, dance, circus and magic, all combined in such a way that it tells the story perfectly while creating a stage spectacle unlike anything you've ever seen or likely ever will again.

Any Broadway musical that lists as part of the creative team Circus Creation (Gypsy Snider), Illusions (Paul Kieve) and Acrobat Coordinator (Adam Menzies) is bound to be unique and special. And all of those elements are more than just special, they are spectacular. There are jugglers, acrobats, trapeze artists, aerialists, and others, doing everything from small-scale, beautiful balancing acts to death-defying feats of acrobatic skill, all while using hula hoops, yoga balls and a number of other circus props. What's also spectacular about all of this is that it's never gimmicky or out of place. It works perfectly to tell the story in every moment of the show. The circus acts are part of the players' toolkit, used to symbolize events, such as the bloody battle of war or Pippin's first experiences with sex. And the magic is used to help create important moments, like the death of the king.

As mentioned, this isn't just a circus and magic show. It's also a nearly perfect Broadway musical, with music and lyrics by Stephen Schwartz and a book by Roger O. Hirson. There are fantastic and memorable songs, like "Corner of the Sky" and "Magic To Do," which are weaved perfectly by the Players into Pippin's story. That story is filled with everything one wants and needs in a universal human tale. There's laugh-out-loud humor along with devastating loss and sadness. There are moments of real joy along with moments of real sadness. And even surrounded by all the magic and "miracles," the story is a very human one, about finding where we belong, what makes us happy, what is truly important in our lives, what we want our life to be and where or how we find or create true meaning. At the same time, there are other themes that still resonate today, including religious extremism, the wealthy vs. the poor, and the costs or potential futility of war.

This national tour also benefits from having a group of performers who are perfectly cast. Leading the way is the gorgeous and brilliantly talented Gabrielle McClinton as Leading Player. McClinton prowls the stage like Catwoman as she serves as our narrator and master of ceremonies. She's got charisma and stage presence to spare and is a pleasure to watch. Her voice is perfect and when she is called upon to break out the Fosse choreography, she wields her hips like a deadly weapon. Her acting is also top-notch when she is called upon to deliver the character's more sinister side in the play's final scenes.

As Pippin, Brian Flores is also perfect. According to his bio in the program, Flores is making his professional theater debut here and that is impressive. It's impressive because he has such confidence and presence on stage, one would think he's been doing this for years. He's also perfect for this role, having all of the right notes of innocence, awkwardness, insecurity and hopefulness that the part calls for. Speaking of notes, his voice also hits them all perfectly and he gives every song a wonderful emotional truth.

In a fabulous bit of casting, Pippin's father here is played by John Rubinstein, who originated the role of Pippin in the original Broadway production. Rubinstein is simply amazing as he creates a character that audiences may love and hate equally. He is at times a tyrant and despot, at other times a sympathetic and relatable father and man trying to do his best, all brought to true life by Rubinstein. He's also got a great singing voice and perfect comic timing.

The king's new wife, Pippin's stepmother, is played here by the fabulous Sabrina Harper. She is another cast member who has a history with this show and she fits in perfectly as the cunning Fastrada. Harper has a wonderful singing voice and is clearly a very talented dancer as well. She nails her big solo number, including a few costume changes that will make you wonder how the heck they did that.

Pippin's story also includes a love interest, Catherine, here played by the adorable Bradley Benjamin. Benjamin has an absolutely gorgeous voice with which she nails her big solo songs. She also brings a wonderful sweetness to the character. As this Player who has been performing the role of Catherine begins to realize that she wants something different, more reality and less magic, Benjamin creates a very believable journey for the audience to follow.

This tour also boasts the inclusion of a well-known Hollywood movie star in the cast, Adrienne Barbeau, as Pippin's grandmother, Berthe. Many know Barbeau from her long career appearing in numerous television shows as well as movies like The Fog, Creepshow and Escape From New York. Some may not know that she also has Broadway roles to her credit and after seeing this show, it's clear that she is right at home on the stage. It also never feels like they are trying to make a big deal out of the celebrity casting. There's never a "look at me! I'm a Hollywood movie star!" kind of vibe. She fits the role and the show perfectly and seems to be having a great time, just like everyone else on stage. She also gets to do some of her own acrobatics during her big solo number. When she gets up on a trapeze with another performer, their aerial duet is beautiful and astounding. I won't say Barbeau's age here, but let's just say that when we are at that age, may we all be able to pull off something even close to that.

There are many more incredibly talented performers in this production, with not a weak link to be found anywhere. And I would challenge you to pick out the ones who do the acrobatics but don't sing or dance. There may be some who do one but not the other, but it certainly appears as if every one of them can do it all, sing, dance and fly through the air with the greatest of ease. They do all of that in some of the most colorful, fantastical and spectacular costumes you've ever seen, designed by Dominique Lemieux. Her costumes are just one of the remarkable technical elements of this production. Scott Pask's circus tent set is the perfect place for the Players to tell their story and perform their eye-popping feats, while Kenneth Posner's lighting design perfectly sets the mood and transports the audience perfectly from the horrors of war to the tranquil beauty of pastoral life.

Everything about this production does just that, transfix and transport the audience, taking them into an unexpected and unforgettable world of magic and miracles. At the same time, they are taken along the journey of a man desperate for meaning in his life who eventually realizes that we might need to strip away all the illusion and make-believe to really find that meaning. And while Pippin and Catherine may decide to leave the world of make-believe behind, this is a world that will stay in the audience's imagination forever.

Pippin runs through Sunday, February 21st at Providence Performing Arts Center. Show times are 7pm on Wednesday, 7:30pm on Thursday and Friday, 2pm and 8pm on Saturday, and 1pm and 6:30pm on Sunday. Tickets are available for purchase online, by phone at (401) 421-2787 , or at the PPAC Box Office located at 220 Weybosset Street in downtown Providence.The Box Office is open Monday through Friday, 10A to 5P; Saturday, 10A to 2P; and at least two hours prior to all curtain times.

Pictured: Gabrielle McClinton and Brian Flores. Photo by Shinobu Ikazaki.

To post a comment, you must register and login.