Pippin

Reviewed by Holly Bartges

Pippin may have won five Tony Awards when it first appeared on Broadway in 1972, but that was 34 years ago. The world has changed drastically and musicals have grown and developed to spectacular presentations in an inspirational, thought-provoking manner. Pippin remains good for community theatre and high school productions, otherwise it should be retired into the heavenly archives as a memory.

D.B. Bonds (Pippin) surrounded by female ensemble members in the Arvada Center’s production of Pippin. Photo: P. Switzer

In spite of an outstanding cast, and a creative, astute director, Rod A. Lansberry, the current production of Pippin at the Arvada Center for the Arts and Humanities leaves much to be desired. The stunning cast, including Milton Craig Nealy as Leading Player, D. B. Bonds as Pippin, and Mercedes Perez as Fastrada, Pippin’s step mother, never have opportunity to showcase their enormous talent. Their characters have little room to grow providing very little challenge for these exquisite artists.

The music and lyrics written by Stephen Schwartz, is fun, delightful, even inspirational in its way, but not exactly challenging musically or vocally.

Pippin, a simple story, tells the tale of the son of Charlemagne (King Charles) who is bored with his royalty, bored with his life, seeking meaning to get his blood flowing. He tries war, sex and women. He even tries settling down on a large estate with Catherine (Christine Patterson) but has to face up to the fact that plowing fields, caring for animals, and placating Catherine’s son Theo (Jason Short) with his sick duck is below his royal dignity.

The Main Player serves as a Narrator involved and yet separate throughout the story. Nealy’s voice is gigantic and strong holding the simple story together, but the songs don’t really do his voice justice.

The set, designed by Joseph J. Eagan with its blank stage and cold iron trellis where dancers can climb, summersault, hang from, and assume precarious dancer’s positions, leaves the feeling this is just a rehearsal, or the set for some mysterious reason, didn’t arrive. The set as it is, has a cold empty feel to it.

The costumes designed by Nicole M. Harrison-Hoof add to the lackluster with tan painted designed body suits. The colors bleed into the cold drabness rather than stand out. A few of the costumes stand out from the wanting of color. Estrada’s and Catherine’s in particular. Color is greatly needed in this production. Although the lighting design by Gail J Gober attempts to fulfill this mission, the demand is too big even for the lighting design.

The one scene that holds a spark, literally, is the final one when the Main Player urges Pippin to step into the fire and become for one gleaming moment a bright spot. Being burned alive doesn’t roll Pippin’s knickers into a knot, and he resists. This sends the Main Player into a spastic frenzy. He’s had it, shutting down the play: shutting down the lights, the music, stripping the characters of their costumes and wigs. In spite of himself, Pippin discovers love is the answer even for Catherine with out her gorgeous dress, and long curly brown wig.

Laurence Anthony Curry takes on the role of Lewis, Pippin’s dimwitted brother who definitely adds to the comedic side with his slapstick stupidity, but the role is more an outline of what the role should be rather than having opportunity to develop it into full bloom.

Theo’s sick duck puppet nearly steals the show, as he takes on a life of its own even though he isn’t able to recover from his mysterious illness. Pippin tries to bring healing, with reluctance, when he sings his “Prayer For a Duck.”

Bev Newcomb-Madden wears Berthe’s costume, Pippin’s grandmother who encourages him to not take life so seriously, to lighten up and have fun. Newcomb-Madden doesn’t provide a character outside the costume. What we see is Newcomb-Madden having a good time wearing a delightful costume. The character never has opportunity to develop.

Kitty Skillman Hilsabeck choreographed Pippin, but this simplified musical didn’t provide her much opportunity for creative challenge with choreography or with the dancers. There are highlighted moments when Hilsabeck’s highly-developed expertise shines through, but the music range doesn’t give her the opportunity to showcase her ingenuity.

The songs are there, and for the most part come off on a strong “note.” “Magic To Do,” “Corner of the Sky,” “War is a Science,” and “Simple Joys.”

Bob Fosse directed Pippin for its original Broadway debut, transforming what had been a Swartz college project into an expansive comedic Broadway splash with course characters sketched in broad lines. Maybe the Arvada Center just didn’t go far enough with its ability for extensive character development, staying too neatly within the lines. This particular production would fit nicely within its Children’s Theatre schedule.

Simplistic seems to be the word for the day with this production, leaving the impression the Arvada Center wishes to save its energy for future shows. The good news is The Full Monty comes again soon.