Seattle Review: Pippin

Though it features a solid Stephen Schwartz score, the principal success of Pippin was the dynamic staging provided by Bob Fosse. Fosse was able to elevate Roger O. Hirson's paper-thin book far above its mediocrity with inventive movement and a heavy dose of style. 5th Avenue Theatre's gaudy new staging, under the direction of David Armstrong, is further proof that Fosse shows are not to be tinkered with. Much like the recent revival of Sweet Charity, this production suffers greatly when Fosse's influence is removed.

Pippin surrounds the son of Charlemagne's search for happiness and purpose. A pastiche of sorts, a group of players take us on a prince's journey through war, sex, death, and love. Schwartz's superb score is dramatic, vibrant, and highly theatrical. Sandwiched between the tunes is Hirson's weak book. While Fosse was able to make the book scenes bearable, Armstrong's inability to make the words dance is a key flaw of this confused production. His many modern touches don't match Schwartz's distinctly 70's score. He often seems to be apologizing for the weakness of some of the material. A new ending makes the festivities even more pretentious.

Armstrong has replaced Fosse's genius work with something that can only be described as an existential Studio 54 party. All subtlety is absent in this tacky, flashy, and visually offensive new staging. Armstrong seems desperate to prove himself to be a high concept director/choreographer. While his Pippin is full of plenty of concepts, none of them make much sense. He makes this show within a show more over-the-top than Dame Edna, Liberace, and Rupaul combined.

Armstrong's choreography is a distracting mess. His flashy ideas prevent Schwartz's important lyrics from being heard. The staging of "War is a Science", in which Charlemagne lectures his son on combat, is more about swiveling chairs than plot advancement. He gives the great Jane Lanier (billed as associate choreographer with Daniel Cruz) pedestrian movements in what should be her big showstopper, "Spread a Little Sunshine". When you manage make one of Broadway's greatest dancers look bad, you have big problems. It took three people to choreograph this mess?

Armstrong seems to have spent more time with his design team than he did ironing out the much needed details. This Pippin looks like a mirror ball purchased at the 99 cents store. Bradley Reed's dreadful costumes are a sight to behold. Think Pricilla, Queen of the Desert meets Peter Allen. Reed's work (clearly lead by Armstrong) makes Pippin quite possibly the gayest thing in town. Tom Sturge's sets are occasionally inventive, but quickly become an eyesore. His big ideas steal too much focus. This is more spectacle than legit theatre. His blaring lighting design seems to be influenced by a bad mushroom trip. All designers involved do a bang up job executing Armstrong's odd vision. Too bad the vision has no focus, purpose, or relevance to the show itself. Word to the wise: Use glitter, Lycra, and neon pink sparingly.

Armstrong has also left his leading man to drown at sea. Louis Hobson gives a lackluster performance as the complicated title hero. Hobson's cardboard approach to things never convinces us to care. Hobson sings with zero conviction, is thrown about the stage like a wandering go-go boy, and acts his scenes with a hollow sincerity that grows old quite quickly. He is never able to shine through all the bells and whistles. Armstrong's choice to have Hobson play an audience member thrown into this production makes zero sense.

The talented supporting cast is often unrecognizable behind all the flashiness. Armstrong is never able to integrate Keith Byron Kirk's Leading Player into the action like Fosse did with Ben Vereen. Instead, Kirk awkwardly pops in and out of the action. He becomes an unfortunate aside. Still, Kirk brings a gigantic voice to his many numbers, and does his best to make some kind of impression. The magnificent Kim Huber does her best in one of musical theatre's most thankless roles for women. As Pippin's love interest Catherine, Huber is unable to rise above her director's sloppy second act. The entire ensemble lacks the solidarity necessary for a great Pippin. They become puppets to their director. With great voices aided by Richard Gray's strong musical direction, this Pippin is best experienced with eyes closed.

The saving grace of this production is the divine performance of Mimi Hines. Hines (as Pippin's grandmother Berthe) gives a master class in classic musical theatre performance. She offers the definitive reading of "No Time at All". Her big voice effortlessly fills the 5th Avenue with warmth, joy, and passion. La Hines once again proves herself to be a formidable diva. She holds the audience tightly in her magnificent palm. Too bad she's only in about 10 minutes of the show. Perhaps Armstrong can replace the gratuitous humping with Hines' nightclub act. Hines adds a much needed touch of class to this utterly classless production.

David Armstrong has replaced Bob Fosse's classy, sexy, slinky staging with a bondage nightmare clearly out to impress. While one wants to admire Armstrong for taking a risk, his vision is so obviously misguided that it becomes impossible to enjoy this occasionally infectious work. It often seems like Armstrong doesn't trust his material. Fosse didn't trust his material either, but he was able to rise above it with his genius ideas. There has been much rumor that this production is the beginnings of a Broadway revival. If that is the case, God help us all. Rent the DVD.

Pippin runs through May 21^st. For tickets call (206) 292-ARTS, or visit www.5thavenuetheatre.org

Top: Keith Byron Kirk and Company in "Magic to Do"

Bottom: Mimi Hines and Company

Photos by Chris Bennion

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