Review: PIPPIN at Signature Theatre
A feast for the eyes in all senses, Matthew Gardiner’s production surpasses even the highest of expectations.
Certain facets of the human condition are foundational to our very existence – change, connection, desire. One such particularly toxic universal truth is a constant need to be something more than we currently are. To search for happiness in external achievement rather than within ourselves, in our simple joys. Pippin at Signature Theatre breathes within that precise virulence, relatively orchestrated by a troupe of impeccably costumed and choreographed players. A feast for the eyes in all senses, Matthew Gardiner’s production surpasses even the highest of expectations.
Pippin loosely tracks the son of King Charlemagne as he grapples with all that arises with adolescence in the Holy Roman empire around 780 AD. But the history lesson concludes with the premise. Stephen Schwartz’s piece is more sweeping than any singular historical figure, it exhibits a young man’s delusional quest to self-actualization guided by forces pushing him in all the wrong directions. Framed as a metatheatrical vaudeville, Pippin delves into a journey that feels eerily familiar despite its absurdities.
Written as the country fell into an optimism stalemate through the early seventies, Pippin spoke to the cynicism and uncertainty of an entire generation when it premiered on Broadway in 1972. Much of the success of the original production is attributed to the fabled Bob Fosse’s direction and choreography that shifted the show towards its sensually dark direction. This production, starring Ben Vereen, ran for five years and was nominated for an impressive nine Tony Awards. In 2013, Pippin was revived by Diane Paulus who refocused the show to a more commercial high-flying circus act starring Patina Miller. Though impressive, these acrobatics deducted from the truth of the show. At Signature Theatre, Pippin returns home to its Fosse-inspired eccentricity.
As Pippin’s quest progresses through war, assassination, lust, and even love, Roger O. Hirson’s episodic book brilliantly blends dark undertones and light comedy. The allegorical nature of the piece allows for credible fourth-wall breaks that strengthen Pippin’s role as a pawn for audience entertainment. Similar brawn occupies Schwartz’s score all the way from tenor favorite “Corner of the Sky” to the Entr’acte. Recurring musical themes and lyrical introspection weaved within the music’s DNA pairs exceptionally with the tone created by this production as Signature.
Every directorial decision by Matthew Gardiner for Pippin is just exceptional. The production maintains a singular identity while paying fitting homage to the Fosse version that birthed it. The intimacy of Signature’s interactive in-the-round staging accentuates the omnipresence of the Pippins' struggles in the lives of individual audience members. It feels like Pippin was always meant to be staged in this manner.
Circling around that stage is an ensemble of eight players (Ben Bogen, Calvin L’mont Cooper, Candice Hatakeyama, Georgia Monroe, Alanna Sibrian, Jacob Taylor Starks, Emily Steinhardt, Hank von Kolnitz) that comprise the core of this production, and their collective performance is the scene stealer. As a unit, this troupe utilizes innovative choreography (Rachel Leigh Dolan), striking facials, and transformative presence to shape the story. With a smaller ensemble, comes a deficit in wall of sound intensity during climatic vocal moments but Signature's production more than makes up for this loss in other areas.
Pippin’s slew of principals carry the remainder of the show with ease. The always radiant Awa Sal Secka’s (Catherine) second act entrance is marked by effortless vocals and restrained adoration. Naomi Jacobson’s Berthe exhibits an innate freedom that exudes into the audience contrasting Maria Rizzo’s (Fastrada) soulful vocals and cunning attitude. As for the leads, Cedric Neal (Leading Player) summons an eerie charm especially displayed in his final moments. His performance rises above scripted to something otherworldly that feels unique to that moment. Not to mention the awe of his vocal talent that while outstanding, is utilized for one too many runs. In contrast, Brayden Bambino (Pippin) plays up a youthful effusiveness with fervor for life that’s equally as striking in his vocal performance.
All of this takes place within the confines of an immaculately designed stage (Christopher and Justin Swader) mirrored with lights and constellations throughout. With entrances utilized in all four corners of the audience, immersion is intrinsic in the set design. Adam Honoré’s astute lighting design enhances the set’s simplicity, revealing itself as the technical vehicle moving the story forward. Costumes (Erik Teague) rooted in blue,white, and silver hues for the ensemble, a ravishing black ensemble for the Leading Player, and street clothes for Pippin further play into the story's overarching message.
Pippin at Signature Theatre isn’t just a musical, it’s an experience. The cast and creative team have crafted a pinnacle production that will change the way you see theatre. At its heart, Pippin is about humanity – the performance we put on and our reality when warm lights are stripped. There’s a reason why it’s an American classic and Signature’s production is the exemplar.
Running Time: 2 hours and 30 minutes with one 15-minute intermission
Effects Warnings: This show will use strobe and lighting effects, loud noises, theatrical haze and smoke
Content Warnings: This show will contain adult themes, sexual content, adult language, drug use, representations of violence, war and death, and discussion of suicide
Recommended for mature teens and up. Signature does not admit anyone under 6.
Pippin runs until July 26, 2026 at Signature Theatre, 4200 Campbell Ave, Arlington, VA 22206.
Photo by Daniel Rader.
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