BWW Reviews: Creative and Innovative Take on PIPPIN Plays the National Theatre

Every now and again, I get the opportunity to revisit a musical on tour shortly after seeing it on Broadway. I had such an opportunity this week when revival guru Diane Paulus' touring production of the award-winning Pippin began its multi-week run at DC's historic National Theatre. With a book by Roger O. Hirson and music and lyrics by the prolific Stephen Schwartz, Pippin is your classic musical about a young man searching for the meaning of life and his place in the world. You've probably seen it once or even a few times at your local high school or community theatre, but this production breathes new life into the familiar in a way that most definitely exciting even upon a repeat viewing.

Pippin - with its use of a Leading Player (Sasha Allen) as a narrator/master of ceremonies of sorts manipulating the action - has always been a musical that's intent on telling a simple, but relatable story in the most theatrical of ways. Yet, the story delivery is not dependent on fancy production values. An inspiring decision on the part of Diane Paulus to set the "play within a play" under the Big Top (aided by scenic designs by Scott Pask) certainly adds some flash that one might not see in other productions.

Certainly, these flashy elements serve as attention-grabbers for modern audiences, but - taken as a whole - they also serve a deeper, artistic purpose. As Pippin searches for a place in his father, King Charles' world, seeks to instigate sociopolitical change, and then ultimately tries to escape from it all to figure out the best path for himself, we see the Leading Player attempt to manipulate his actions along with those he encounters on the way. By setting his journey under the Big Top and featuring illusions (Paul Kieve) and daring circus tricks aplenty performed by a versatile ensemble cast, Paulus accomplishes two things. She brings focus on the unique world that Pippin inhabits and his endeavor to do something out of the ordinary, but also reinforces the theatrical underpinnings of the show as written. These elements work well in every scene, but bring new levels of thematic depth to certain ones. As one example, the circus elements that she and Gypsy Snider (credited for circus creation) incorporate into the war scene "Glory," in particular, are not only exciting to watch, but capture how the war is, in essence, a series of risky maneuvers. It is, put succinctly, theatre with a dangerous edge. Notably, Kenneth Posner's lighting also serves this scene particularly well.

The current national tour is successful not only due to the fact that it delivers a high dose of creativity and artistry like the Broadway revival it's based on, but also because of the supremely talented cast. Sasha Allen's pop-infused powerhouse vocals are perfectly suited to the numerous high-energy numbers assigned to the Leading Player. At the press opening, dressed in Dominique Lemieux's sleek black costume, she started strong in "Magic to Do" and grew even stronger as the night went along, hitting a highpoint with "Simple Joy." Her diction was also impeccable, a nice change from some others I've seen perform the role. Her acting, particularly in the early moments of the show, was not always as engaging as her vocals, but by the end of the show - when her 'play' falls apart - she showed her appreciable acting chops. She also executes Chet Walker's Fosse-inspired choreography reasonably well. With strong showings in all three departments, she gives a performance that's quite memorable.

Kyle Dean Massey - reprising his role as a replacement in the Broadway production - is the kind of Pippin that's easy to root for and he certainly captures the character's need and desperation to find the meaning of it all. Whether Pippin is at a highpoint in his life -however short-lived - or at the lowest of the low, he is consistent in his characterization. Massey's strong tenor voice and naturally endearing presence are key reasons all of his iconic musical numbers work so well. While his passionate performance of "Extraordinary" proves to be a highlight - not only for his strong vocals but the way he moves to easily about the stage - some of the more subdued numbers also make an impression. Among them is duet with the equally talented Kristine Reese (Catherine, the widow Pippin meets when he tries to escape his life) - "Love Song." As he sits on the stage with Reese, strumming an acoustic guitar, Massey's tender vocals and honest emotional connection to the lyrics showcase how strong Schwartz's varied score is for this show and how it's even better when delivered really well.

Other principals make an impression.

Berthe, Pippin's outspoken grandmother, is the kind of role that always gets a laugh or two. However, some actresses tread too far into 'campy, cartoon' territory as Berthe gives advice to Pippin, including through song ("No Time At All"). The legendary Lucie Arnaz notably avoids this tendency. A more human Berthe - however larger-than-life the character is at the core - ensures the brief interaction between grandmother and grandson is all the more significant in the grand scheme of the play. The scene becomes less about the actress showcasing her comedic chops and more about shaping Pippin's journey. Don't get me wrong. Arnaz has the comedic chops in spades to achieve the laughs (and who can forget her moves on the trapeze?) and she sings "No Time At All" beautifully, but the comedy doesn't overshadow the touching relationship. Many, many kudos to Ms. Arnaz for resisting the urge to chew the scenery until nothing is left.

As the power-hungry but not-so-smart King, John Rubinstein - the original Pippin the 1970s, also reprising the role he recently played on Broadway - delivers a performance that hits all the necessary comedic marks, particularly in the fast pace patter song "War and Science". He also brings to focus the challenges and pitfalls inherent in being a leader - something that becomes important to Pippin's journey later on. I saw Rubinstein perform this role on Broadway, and while he made a strong showing there, he's even stronger here on tour.

Likewise, Sabrina Harper understudied the role of Pippin's conniving and self-absorbed stepmother Fastrada in the recent Broadway revival and she was on the night I saw the show. I remember her as being one of the standouts that night and she continues this trend here in DC. A can't-take-your-eyes-off-of-her dancer with a strong singing voice and a knack for comedy and the quick change, Harper tackles Fastrada's big number, "Spread a Little Sunshine" with considerable ease and more than sufficient pizazz.

A shining point of Pippin has always been Schwartz's music. Here, it's well-sung by everyone in the cast down to the powerful and hard-working ensemble and played very well by Ryan Cantwell's small orchestra. The musicians play Larry Hochman's charts with vigor, verve, and technical proficiency and only add to the already off-the-charts excitement level.

This is definitely one to see. For those who have seen the Broadway production and loved it, fear not. This is not a situation where the tour pales in comparison. For those who have only seen Pippin on a smaller scale or haven't seen it at all, there are more than a few reasons you should make an effort to see this tour.

It's pure musical theatre and its finest. Nothing is better than that.

"Pippin" plays at the National Theatre - 1321 Pennsylvania Ave, NW in Washington, DC - through January 4, 2015. For tickets call, 1-800-514-3849 or visit www.thenationaldc.com.

Photo: Sasha Allen (center) as Leading Player with the cast of the National Tour of PIPPIN. (Terry Shapiro)