Pippin

Pippin tends to polarize music theatre lovers. I’m an unashamed fan.

Miranda Musical Society’s production, which serves the Stephen Schwartz (Godspell, Wicked) 70s soft rock musical very well, should ensure some new fans.

Reveling in the sultry, grotesque vaudeville carnival theatricality of Gavin Leahy’s interpretation, the well-balanced ensemble create delightful individualities, blending organically into a quirky unity. It’s a splendid production.

Pippin is the story of a young man’s quest for fulfillment, within a highly theatrical framework, narrated and guided by the Leading Player.

Leahy’s female casting of the Leading Player works well thanks to Emma Paul’s seductive, sensuous performance, complete with a decisive switch of character when her authority is challenged in the second act. Garth Saville’s Charlemagne, Pippin’s father, is intriguingly different from others I’ve seen; impressively sung, with Godfather overtones, a la Tony Soprano, among multiple influences. As Pippin’s stepmother, Melissa Lammers’ reading of the manipulative vamp Fastrada has all the stagey sexiness the part demands. In the cameo of Pippin’s grandmother Robyn Lassman is perfect; pure showbiz, the veteran vaudeville hoofer to a tee. James Jonathon nailed the role of Pippin’s narcissistic, vacuous half-brother. As Pippin’s love interest, Jennifer Parbery’s Katherine is a cleverly layered portrayal, with her self-accompanied solo near show’s end a highlight. Young Daniel Simpson, is a cheeky scene-stealer as Katherine’s son Theo.

Visually Rory Chatterton’s Pippin is very different from the rest of the cast; dressed plain, casual contemporary. Likewise his performance style is straight and naturalistic, in strong contrast. His is a capable performance, and vocally assured, though as prince and heir to the throne, he sometimes needed to establish a more assured bearing.

A small ensemble makes a very large contribution to the show; girls corseted, uplifted and buxom, and boys androgynous, give individualized, stylized, finely detailed performances, all combining to create a highly theatrical whole. Their physicality in choreography by Kira Nelson  is striking. All have special moments; among them, the comedy enlivened sex ballet, never taking itself too seriously and the portrayal of Theo’s duck, are among the special delights.

A simply effective design uses props, carried on and off by cast, to keep things simple to facilitate the show’s flow.

The music, under the control of Dean Turner, is excellent. With the band in a pit under the stage, the sound team were able to achieve a splendid mix.

For anyone familiar with Pippin, this new version of the script is very different to the original. As well as formalizing an interval, it makes other changes and clarifications. For mine, the jury is out on whether these revisions are genuine improvements.

A storytelling piece, Pippin is a relatively blank canvas, open to a broad sweep of interpretations, which Gavin Leahy and his cast have coloured vividly.

Neil Litchfield

Images: Andre Moonen Photography

Link to our earlier coverage. 

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