Review: PIPPIN - 50TH ANNIVERSARY CONCERT, Theatre Royal Drury Lane

Pippin is celebrating 50 years since its West End with a couple of concerts in the West End with the London Musical Theatre Orchestra. Stephen Schwartz's lively and magical musical has a superb score and in Joanna Goodwin’s choreography retains the influence of original collaborator Bob Fosse.

Pippin (Jac Yarrow) is the restless son of king Charlemagne (Cedric Neal), seeking something extraordinary and fulfilling in life. Although the first born and hair, there's a scheming stepmother (Zizi Strallen) who  uses her supple and leggy charm for influence and money.

Younger son Lewis (Idriss Kargbo) is a soldier who sparkles like a glitterball. It’s perhaps fair comment to place this production of Pippin firmly in the camp corner, and that’s no bad thing. It's a show which thrives on excess.

After glamorous granny Berthe (Patricia Hodge, who played Catherine 50 years ago, deeply poignant here) encourages Pippin to make the most of life (and by extension, the audience, who get drop-drop lyrics to follow in her solo song).

Nothing clicks for Pippin. War isn’t right, nor is a stab at regal power. The players, the purveyors of magic, tempt him into sensual pleasures, but does an ordinary day hold the answer?

Alex Newell has been highly anticipated as Leading Player and de facto narrator, and their vocals do not disappoint, nor do their reactions or moments of levity. Catherine (Lucie Jones) has her big moment in act two, hilarious as the white widow behind a stack of hay bales. Her chemistry with Yarrow – who makes his entrance from front stalls – is strong.

Yarrow is a world away from Joseph, more mature, more jaded. He interacts brilliantly with the four Players (Jak Allen-Anderson, Sally Frith, Amonik Melaco, Gleanne Purcell-Brown), who carry the dance sequences.

With an orchestra and 50 strong chorus of ArtsEd students on stage, there’s little room for action, but director Jonathan O’Boyle rises to the challenge and does this show proud. Chris Ma and his musicians are note-perfect, giving Schwartz’s melodies a lush vibrancy. Adam Fisher’s sound and Jamie Platt’s lighting give both gravitas and fun to the show.

Roger O Hirson’s book is a joy, moving quickly from one scene to another, establishing character and situations. And Polly Sullivan has crafted costumes that have a disco pride vibe.

Pippin occupies a similar space to Godspell (also Schwartz) and Hair in its sense of magical forces operating on ordinary lives. It has had a few revivals in recent years but still deserves to be better known.

With the original ending jettisoned in 1998, matters are left open, even hinting at a sequel. There’s no huge finale, no explosion of fantasy. Pippin is about growing up, accepting what life offers, having fun, then passing on the torch. Catherine’s young son Theo (Ryan Heenan) offers an uncomplicated contrast to the royal princes.

You only have one more chance to catch this concert production. “No Time At All”, to quote the song.

Pippin has its final performance at Theatre Royal Drury Lane on 30 April 2024.

Photo Credits: Pamela Raith Photography

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