BWW Reviews: Magical PIPPIN at the Peabody Opera House

Combining acrobatics with choreography (by Chet Walker) that recalls Bob Fosse's original work on the show, the current touring company of Pippin (book by Roger O. Hirson with music and lyrics by Stephen Schwartz) at the Peabody Opera House provides quite an enjoyable spectacle. There's a circus-like quality (courtesy of Gypsy Singer) to this presentation that's unexpected, and even a bit magical, making it more suitable for the younger set than some versions, even though most of its sexier elements are still firmly intact. It's certainly well worthy of your time and attention.

Pippin is essentially a grown up fairy tale that utilizes characters taken from history, but strays far from historical accuracy. The musical tells the tale of the son of King Charles, who is searching for some sort of meaning in his life. After witnessing the folly of war first hand, he enters into a plot to murder his father and usurp the throne. And yet, he can find no real satisfaction in ruling, and after a moment where the King is brought back to life, he roams the countryside aimlessly.

Sasha Allen is good as the leading player, guiding the audience and Pippin through the narrative. Her lack of patience is in keeping with the role's attitude, and she does fairly nice work with the opening tune, "Magic To Do". Kyle Dean Massey is a fine fit as Pippin, displaying a true sense of vulnerability, and shining vocally on "Corner of the Sky", "Morning Glow", and the absurd, but touching "Prayer for a Duck." Kristine Reese makes for an appealing love interest as the widowed Catherine, and her vocals do wonders for the ballads "Kind of Woman" and "I Guess I'll Miss the Man". Zachary Mackiewicz (the role is shared with Lucas Schultz) is the very definition of cute as Catherine's son, Theo.

John Rubinstein (who played the title role in the 1970's) and Lucie Arnaz (it's a real treat to see her onstage) offer outstanding support as King Charles and Berthe, respectively. Rubinstein amuses as the randy king, and Arnaz neatly handles the show-stopper "No Time At All" as she advises Pippin on the direction he should take with his life. Callan Bergmann is also strong as Pippin's stepbrother, Lewis, and Sabrina Harper seems to be having a great deal of fun as his scheming stepmother, Fastrada.

Diane Paulus directs this revival with considerable flair, giving those familiar with the original work something that's uniquely different in its execution and staging. Scott Pask contributes a splendid scenic design, Kenneth Posner's lighting is well done, and Dominque Lemieux's costumes are lovely. The illusions by Paul Kieve add another dimension to this piece, and Ryan Cantwell's music direction is on point.

The Peabody Opera House has provided audiences with the chance to see a delightful and energetic touring production of Pippin, and it continues through December 14, 2014.

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