BWW Reviews: Newest Broadway Revival of PIPPIN Provides Spills and Thrills at the Pantages

Pippin/book by Roger O. Hirson/music & lyrics by Stephen Schwartz/directed by Diane Paulus/Pantages/through November 9

In 1972 Pippin opened on Broadway and became one of the longest running musicals in Broadway history, closing in 1977. Stephen Schwartz's bubbling optimistic tunes made the surreal and sensual mood of the piece an ultra-pleasant experience for theatre goers. One actually left the theatre humming the score. Throughout the dreamlike texture of Pippin's quest for his "Corner of the Sky", however, there blooms a simplistic, timeless message that reverberates to this day. So, even though this brand new revival set in a circus big top is visually more opulent with high swinging artists and feats of magic, the pieces of the puzzle do fit into place - original director Bob Fosse would approve - and the play's substance is untarnished. Director Diane Paulus may take a bow for her ambitiously stunning embellishment. I prefer the simplicity of the original, which allows your imagination to take flight, but must own up to enjoying most of the new version. How can you not, as the Fosse-esque style with acrobatics added on make for a visually splendid evening of dance and action.

Scenes are thrilling to watch because of the accompanying death-defying acts, the great choreography from Chet Walker. vibrant costuming by Dominique Lemieux, dynamic lighting design by Kenneth Posner and imposing set by Scott Pask. There's just much more to keep your eyes on this time around, whereas before you were forced to invent it. Berthe (heavenly Andrea Martin) has a lot more stage time than did Irene Ryan in the original and her "No Time At All" is extra special due to the addition of some daring acrobatic moves on a high-flying swing. What a brave performer! Did she ever do Circus of the Stars on TV? There is also lots of simulated sexual frolicking and undulating male and female chorus bodies performing physical feats such as hunky male dancers jumping through hoops, and others diving over large blow-up plastic balls... providing plentiful eye-candy. Thank heaven for Paulus's extraordinarily perverse visions that are given more dimension with the acrobatic dynamics! It is also a treat to view many illusions such as disappearing corpses and the reappearance/emergence of humans from inside a giant box. Of course, many of the magic acts incorporated here were first popular in Schwartz's Magic Show (1974), so the composer is no stranger to the cirque scenario.

The entire cast is splendiferous. Sasha Allen is a dynamically sizzling Leading Player, a role originated by a male actor/dancer. In fact, it was Ben Vereen's original star turn. I found Allen to be a triple threat, but somewhat on the cold side as Pippin's guide. I prefer the dominant male figure to make up for Pippin's father who is too preoccupied with his kingly duties to cater sufficiently to his son's vital needs. Matthew James Thomas makes Pippin totally boyish, vulnerable and complex with some finely slick moves but lacks the vocal prowess of past Pippins. The original Pippin, John Rubinstein is thankfully in this ensemble as Charlemagne, in a thoroughly delightful performance. Other character performances are wonderful: Sabrina Harper makes a deliciously cunning Fastrada, and Kristine Reese wins our hearts as homespun. rather clumsy Catherine. It is hard to surpass Martin, however, as the main scene stealer, recreating her Tony winning Broadway role as Berthe. Bravo to each and every one of the talented ensemble!

This is a glorious show for everyone. It's not only terrific entertainment, but on the message side, brings hope into a normal, empty, vacant life and really makes one think hard about one's priorities. 'What is really fulfilling?' asks Pippin. Sometimes it's wise to stop looking for extraordinary greener pastures and simply trust the old adage that the best things in life are free...and in one's own backyard.

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