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PIPPIN: A Bollywood Spectacular? Why, yes. Yes, it is.

OK, now that's a fascinating trip to take! All you have to do is trust the director. Believe me, when you see this cast of sixteen dancing up a storm, when you hear sitar sounds and exotic drumbeats and synthesizer hits coming from the two keyboardists and two percussionists that make up musical director Ryan Brewster's impressive orchestra (arrangements by the clearly inventive Peter Storms), when Bob Knuth's luscious set and Jesus Perez's colorful costumes unfurl before you, when Gary C. Echelmeyer's swirling lights and somebody's creative and ominous projections dazzle your eye, you had better think, "I'm going with them on this journey. This may not be what I thought I was getting, or I thought Bollywood was supposed to be all kitschy, or I'm a little weirded out right now, but I trust these people and I want to see this thing through."

That, my friends, is what I hope you will do. You will indeed by rewarded. And yes, I am aware that there are no Asians in the cast (a topic of consternation in some circles). Yet, the Asians in the audience last night seemed pleased that folks from other cultures would want to view an American artwork through an Indian artistic lens. Or, are the actors viewing an Indian cultural export by utilizing an American artistic lens? You decide.

And there isn't really a weak link in this production. If the cast betrays its youth and/or lack of expertise from time to time, I challenge any actor in town to be in this demanding production. Want more musicians? Pay a higher ticket price. But in its two leading players, you would be hard pressed to find anyone able to play the dramatic truth in this concept with any more skill and conviction than do Christopher Logan as the Leading Player and Neil Stratman as Pippin. They are on point from first to last.


Triple-threat Logan is exciting and unnerving throughout. He makes some audacious acting choices--some that undermine his singing voice a bit, but no one but a singing teacher would notice, or care. He gives a thoroughly committed, crazy-consistent performance, of a brilliant, bravura type one doesn't see very often. Stratman unveils several spectacular, belted high Cs that would be the envy of any Pippin in recorded history, and by the play's end is perhaps the manliest, most adult Pippin of anyone who really seemed like a teenager in the opening scene. Both of these guys are due for much bigger things, and the discerning theater fan should catch them now, in relative close-up. And they, like practically everyone in this show, are sexy as hell.

As Catherine, Khaki Pixley looks and sings as beautifully as she should, and had me on The Edge of my seat with her bold acting decisions in Act II. Her son, Theo, was the young Sam Gray, who really did love that duck. As Charlemagne, Noah Sullivan lacked a little gravitas perhaps, but performed boldly nonetheless. His second wife, Fastrada, was played with a great deal of fun by Jennifer Bludgen, whose voice carries like wildfire. Patti Roeder plays his mother, Berthe, with a calm sexiness and delightful sense of dance. And as Lewis, Shawn Quinlan is a little bit wacked out, but for Lewis, that's perfectly ok!

The hardworking dancing and singing ensemble (and you should see them in their body stockings during the orgy sequence) consists of Erin Renee Baumrucker, Sarah Bright, Kim Green, Steve Greist, Penelope Long, Isaac Loomer, Nico Nepomuceno and Nyk Sutter. These kids are on board Bellie's ride from second one. And yes, that's four girls and four boys, though they aren't always paired up so evenly, if you catch my drift. It's "Pippin!"

I have loved the original cast album of "Pippin" since its vinyl still smelled funny, and no, the songs don't sound like those AT ALL in this production. But, you know what? They must be pretty good songs after all, because they can be done in more than one way. Pop is pop, and only the trappings have changed. "No Time At All" is still a sing-along, "Morning Glow" is still moving and spiritual, "Corner of the Sky" is still universal, "On the Right Track" is still more complicated than you remembered, and "With You" and "I Guess I'll Miss The Man" are still among the best ballads of the past half century.

Is this a perfect "Pippin?" No, it's not. But to sit in solemn silence in a suburban storefront theater, and experience a delightful, disturbing show in an unexpected way, performed by skilled show folk on the frontier of multiculturalism? That's not only show business at its best, it makes you think! And feel, and dream and wonder. Isn't that what theater is all about? For his official swan song with a company he has guided for so long, Kevin Bellie went long. Not a "Hail Mary" pass, but the kind a quarterback throws when he knows the field, his team, and his audience. And they know him. This "Pippin" is a winner, beguiling and thought-provoking. I will remember this one for a very long time.

"Pippin" will be performed by Circle Theatre at 1010 Madison Street in Oak Park. The show previews on November 10 & 13 at 8:00pm and opens on Wednesday, November 14th at 8:00pm, running from November 16th to December 23rd. Shows are on Fridays and Saturdays at 8pm & Sundays at 3pm. The Box Office may be reached at 708-660-9540. Preview tickets are priced at $15 (November 10 & 13 only). Regular show tickets are Friday: All seats $26; Saturday/Sunday: $30 for adults, $28 for students/seniors. Group rates are available. For more information, visit http://www.circle-theatre.org.

PHOTO CREDIT: Tom Bludgen

PHOTOS (top to bottom): Neil Stratman, Christopher Logan and Khaki Pixley; Neil Stratman and company; Patti Roeder and company; Kim Green, Christopher Logan and Penelope Long; Patti Roeder, Christopher Logan and Jennifer Bludgen; Sam Gray, Neil Stratman and Khaki Pixley; Steve Greist, Nyk Sutter, Jennifer Bludgen, Shawn Quinlan and Nico Nepomuceno.

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Paul W. Thompson Paul W. Thompson, a contributor to BroadwayWorld.com since 2007, is a Chicago-based singer, actor, musical director, pianist, vocal coach, composer and commentator. His career as a performer, teacher and writer is centered at Paul W. Thompson Music, located in Chicago’s historic Fine Arts Building, where he teaches the great songs of Broadway to the next generation of musical theater performers. A native of Nashville, Tennessee, Paul was raised in a family of professional musicians and teachers, steeped in classical, gospel, country, pop, sacred and show music. Dubbed a “thin, winsome lad” at the age of 13 by a critic for the Nashville Banner, he earned two degrees in musical theater (a B.F.A. with Honors from Baylor University and an M.M. from the University of Miami, Florida), plus an M.B.A. with Distinction from DePaul University. Paul’s memberships include Actors’ Equity Association, the American Guild of Musical Artists, the National Academy of Recording Arts and Sciences (proud voter for the Grammy Awards!), the National Association of Teachers of Singing and New York’s Drama League.

Moving easily between the worlds of classical music, religious music, classic pop and musical theater, Paul has appeared onstage or in the orchestra pit in concerts, musicals, operettas and operas in 30 states and in Europe, in a career spanning more than 35 years. His Chicagoland stage credits include “Forever Plaid” at the Royal George Theater and twenty mainstage productions at Light Opera Works. Paul joined the Chicago Symphony Chorus in 1995 (he was Tenor I Section Leader for four years and sings on two Grammy-winning recordings), and is one of Chicago’s foremost liturgical singers, marking 20 years as a member of the choir at St. James Cathedral (Episcopal) in 2011.He has composed and arranged a number of anthems, hymns and songs for worship and concert use, and collaborates on the creation of new works of musical theater. Paul can be found on Monday nights watching showtune videos at the world-famous Sidetrack nightclub, the inspiration for his weekly column, “The Showtune Mosh Pit.” His proudest achievement is that he has seen the original Broadway production of every Tony Award-winning Best Musical since “Cats.” No, really. Since “Cats!”


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