THE BASICS: Shea’s Performing Arts Center and Albert Nocciolino present a touring production of the 2013 revival of the 1973 Bob Fosse hit PIPPIN. Forty years after the original, this current PIPPIN was the most nominated Broadway show of 2013, winning four Tony Awards. The touring production at Shea’s, 646 Main Street in downtown Buffalo, 14202, continues Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 2 p.m. and 8 p.m , and Sunday, January 31, at 2 p.m. and 7 p.m. Run time is a little over 2-1/2 hours with one generous 20 minute intermission (full service bar and coffee service with cookies).
THUMBNAIL SKETCH: Young Pippin, raised in the shadow of his mighty father, the Emperor Charlemagne, just back home from college, seeks experiences that will help him choose a future filled with meaning and purpose. Throughout his quest, he is surrounded by circus players and acrobats, goaded on by their Leading Player, whose primary goal is to get Pippin to burn out in a blaze of glory (literally) at the finale. Fortunately, the recently widowed Catherine intervenes, prompting the players to now turn their attention to Catherine’s son, the very young Theo.
THE PLAYERS, THE PLAY, AND THE PRODUCTION
The production is very high quality, the circus stunts are impressive, the bodies of everyone on stage, male and female, are stunning (“wall to wall eye candy” as one patron put it) and the pit orchestra uses actual instruments, not just synthesizers, for a real “Broadway” feel.
Casting a woman in the role of Leading Player (Gabrielle McClinton) helped make the production more relevant to modern audiences, and Ms. McClinton delivered an energetic performance.
There are strong Oedipal themes in this musical, and the absolutely gorgeous Sabrina Harper as Fastrada helped bring those out (along with Pippin trying to kill his father, of course).
The “show stopper” was Priscilla Lopez as Berthe, Pippin’s grandmother, who in her late 60s is singing while doing aerial tricks on a trapeze that most of us wouldn’t try at any age. Big applause. Priscilla Lopez is “Broadway Royalty” having starred in the original A CHORUS LINE as well as IN THE HEIGHTS.
Also in that category is John Rubinstein, as Charles, who was Pippin in the original 1973 Broadway cast. He has been in movies and popular television shows and lends the proper air of gravitas to the swirling craziness on stage.
Skyler Adams played Lewis, the warrior, second in line to the throne, with great physicality.
And Catherine, the widowed mother of Theo, who nurses Pippin back to life and in the end saves him from destruction, was played by Ms. Bradley Benjamin who has the “love interest” role down to perfection. This musical has historically used vaudeville and stripper dance steps throughout, and so the sweet but worldly Catherine offers a nice contrast.
It’s great fun; if you like musicals, you should go; it’s just what you’d want in a touring show. That ends my review of the players and the production. Now, on to the play.
If you are expecting to revisit your youth and be transported back to the early 1970s, that’s probably not going to happen. Much has changed in American society over forty years. While the PIPPIN songs and music are pretty much the same, this is not Bob Fosse’s choreography. It’s by Chet Walker “in the style of Bob Fosse.”
Also, back in 1973 we Baby Boomers were all Pippins, back from college, idealistic and determined to “make a difference.” By the 1990s, most college graduates just wanted to make money and since the economic crash of 2008, most just want a job, period. Supposedly the Millennial generation has that old idealism. We’ll see how these 20-something Pippins fare as they develop “apps” for what ails the world.
What makes this a different experience too is that, in 1973, Americans were sick of the Vietnam war. Not only was that war “fought in our living rooms” (with TV coverage that has never been repeated) but Vietnam was the last major conflict fought with a conscripted army. Because of the draft, the war affected all levels of society, including the socio-economic group that went to Broadway musicals and would have responded to a strong anti-war message. Since 9/11, you don’t hear that message much these days.
And, time has moved on in other ways. There is reference in the program, but no explanation for younger audiences, of the “Manson Trio” stage routine (referring to Charles Manson’s killing spree in the summer of 1969) which contrasts vaudeville dance steps against a background of beheadings and other carnage. That would have had great resonance in 1973. Today, not so much.
Lead image: Pippin Tour – John Rubinstein (Charles) and the cast of PIPPIN | Photo Credit – Joan Marcus
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!