Theater Review: Pippin

They've Got Magic to Do, Just for You and a Miracle Play to Play
By Lauren Yarger
If ever an opening number delivers on its promise, the exciting "Magic to Do" which opens the Broadway revival of Pippin does.

It is, in fact, one of the most breathtaking opening numbers we've seen on a stage in a long time thanks to the big-top theme imagined by Director Diane Paulus and Circus Creator Gypsy Snider and it sets the tone for the rest of the evening -- for which you definitely should leave your cheese to sour and join them for an hour or two (well, really about two and a half).

Colorful costumes  (Domenique Lemieux, design) and an old-fashioned circus tent (Scott Pask, set design) provide the backdrop for juggling, tumbling, trapeze artistry, balancing and illusions (Paul Kieve) while the story of Pippin (Matthew James Thomas), son of King Charles (Terrence Mann), the Middle Ages' Charlemagne, unfolds amidst Stephen Schwartz's beloved score and lyrics with a book by Roger O. Hirson.

Young Pippin returns from school unsure of what to do with his life. He knows it has to be extraordinary, but isn't sure where he'll find his "Corner of the Sky" (beautifully nailed by Thomas.) Just when the audience is struggling not to sing along with tunes like "Glory" or get up to dance the original Bob Fosse moves with the Manson Trio (Patina Miller starring in Ben Vereen's "Leading Player" role joined by Andrew Fitch and Anthony Wayne) the house lights come up and they are invited to join Pippin's grandmother, Berthe (Andrea Martin), in the choruses of "No Time at All." I won't give away why, but this number stopped the show twice the night I was there. Look for Martin to be making an acceptance speech at the Tonys when she receives the award for Best Featured Actress in a Musical.

Pippin tries to be a soldier like his cocky half brother, Lewis (Erik Altemus), but doesn't like war. He tries to find "something completely fulfilling," but fails time and time again. Women don't satisfy him. Neither does power, even after he usurps his father's throne at the urging of Lewis and his stepmother, Fastrada (Charlotte D'Ambroise). He tries so many different things, that break-away costumes almost can't keep up with the action.

He finds domestic tranquility with a widow, Catherine (Rachel Ray Jones), and her young son, Theo (Andrew Cekala and Ashton Woerz share the role), until he realizes that he has settled. He would rather "trade my ordinary life to perform one extraordinary act," he declares  The Leading Player and the the pull of earthly pleasures offer him just that opportunity, but will Pippin find what he's looking for before making the ultimate sacrifice?

"Fabulous"is the word that keeps coming to mind when describing this show. The original Broadway staging in 1972 was terrific, but Paulus has taken us to that extraordinary place for which Pippin is searching. Chet Walker's choreography is "sharper than sight" and the dramatic circus acts performed by an ensemble, many of whom have circus backgrounds, are made exemplary by an excellent technical team: Lighting Designer Kenneth Posner, Sound Designers Jonathan Deans and Garth Helm, Techincal Supervisor Jake Bell and  Design Supervisor Edward Pierce. Chic Silber provides the fire effects. The music id directed and arranged by Nadia DiGiallonardo with arrangements by Larry Hochman

Every player, no matter how small the role, stands out, especially Anthony Wayne, whose portrayal of a chicken was most entertaining.

Shout it out from the highest tower, I predict this show will snag Tonys for Best Revival of a Musical and Best Director of a Musical for Paulus (Hair). Miller (whose voice sounded a bit strained the night I attended) and Mann also are nominated, along with Walker, Pask, Lemieux, Posner and Deans and Helm. Regardless of how many Tonys the show receives (it received 10 nominations in all), it will be around for a while.

Pippin is working his magic over at the Music Box Theatre, 239 West 45th St., NYC. Tickets and info: http://www.pippinthemusical.com/.

Christians might also like to know:
-- Sexual situations
-- Suggestive costumes
-- Sexual activity (some between two women; the scene where Pippin indulges in lust is quite graphic and dark, but appropriate to the plot)
-- Violence
-- Magic
-- God's name taken in vain
Note: Despite the circus motif, I would caution against taking very young children. The themes, as you can see by this list of content advisories, are more mature.