Review: Broadway Sacramento's PIPPIN is Extraordinary

The "magic to do" in Broadway's "Pippin" owes as much to simple storytelling and relatable "players" as to actual magic tricks and acrobatic wonders.

A knife-throwing act here, a disappearing act there, the grand circus tent concept that helped the musical win its Tony Award for Best Revival fits flawlessly. But a beautiful new conclusion and a quest for meaning set to Stephen Schwartz's spellbinding music also capture the soul of live theatre. On that count, nothing has changed since the show's 1972 premiere. Young prince Pippin searches for his "corner of the sky," dabbling in war, sex and politics as a "Lead Player" guides him toward one grand "finale."

Fresh out of college, Brian Flores demonstrates exactly what strong talent a good arts education can give the world. As Pippin, the eager Flores makes adorably endearing attempts to follow his father in battle and to sit at the feet of his grandmother's advice. These odd sideshow characters get their moments in the spotlight, most notably John Rubinstein (the original Pippin) as a gleeful King Charles. Pippin's stepmother - the sparkling Kate Wesler - uses her "housewife" qualities to overdraw her allowance and work toward making her own son next in line for the throne. Sabrina Harper "spreads a little sunshine" in the role she understudied on Broadway - that of Pippin's grandmother Berthe. And Bradley Benjamin lends a beautiful voice to Catherine, Pippin's "ordinary" romantic interest. The character does not arrive until the second act, but her key role leads to the show's crucial conclusion.

It may not sound like much of a plot, but the various stages of Pippin's journey tell a universal story. When the Leading Player urges Pippin toward his grand destiny in the sun, he must discover for himself where true fulfillment lies. Gabrielle McClinton's strong vocals do not quite reach the wow-factor, but she takes total command as the Leading Player, infusing her ringmaster with jazzy style and embodying famed original choreographer Fosse, himself.

In addition to Chet Walker's Fosse-inspired dance and Dominique Lemieuz's striking costume design, this new production treats audiences to trapeze artists, flips and tumbles, and even what might be considered a variation on a caged animal act. The illusions and gymnastics are placed to support rather than altogether steal the show - although for those who enjoy a thrilling cirque act they do just that.

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PIPPIN
Broadway Sacramento
Through January 3
www.CALMT.com

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