Pippin, or, Art at the A.R.T.
So I went to see the production of Pippin at the American Repertory Theater here in Cambridge. It made me feel things. Things that I want to talk about here.
I'm posting pics from the show (from the ART's website) and might talk about plot points from the show. If you care about this sort of thing and want to be surprised when you go see it here or on Broadway, read no further. I'll put the rest of the post behind a cut. You're welcome.
Disclaimer: I have NO idea if this cut works in RSS Feeds.
If you don't know the story of Pippin, generally, it's this: Pippin is the son of King Charlemagne and he's just finished his education and needs to decide what to do with his life. He's not sure what that is, so he begins a journey to discover the thing that will make his life fulfilling.
Also, more personal backstory on Pippin for me: This is the show that Gordon and I met doing. In fact, we met ELEVEN years ago this month starting rehearsals for Pippin!
Here's us: Fuzzy Goats!
Babies!
Anyhoo, so even though the show has some personal meaning, I still wasn't all that fond of the show itself. It's so loosey-goosey! Who really cares about Pippin himself? It's so dated! Sure, there's some great music, but overall? Meh.
Let me tell you: this production completely changed my outlook on the show. I say that with no exaggeration.
I am also chalking this up to a mixture of the production I was involved with not really being a great one (the director did not, how shall I say this? Direct?) and I've got eleven more years of life under my belt. I mean, I think I got what the point was- that is to say, I understood what Stephen Swartz and his co-writers were trying to say...I just didn't GET it. Or care. Because we didn't truly get to the heart of the matter in rehearsals. And because I was 24! And I had a crush on a boy.
But this production? I finally GOT it. I was moved. I AM PIPPIN!! WE ARE ALL PIPPIN!! Honestly, it's almost embarrassing.
From the very beginning, the opening number Magic to Do, I knew they had me.
This was going to be a spectacle. And rightly so! The ensemble was a mix of singer/dancers and performers with legit circus/tumbling/acrobatic skills. Which is exactly what I think this show needs. You need the tricks- the magic. And there were PLENTY of tricks. The performers were fantastic and had you on the edge of your seat with some of those moves.
They also cast a female Leading Player- Patina Miller - who is FABULOUS. Why don't places cast female Leading Players more often? I've only ever seen it done with a male in the role (as it was in the beginning, on Broadway), but the role is gender-neutral. The LP is never referred to- having it be a female works well.
One of the biggest treats for me was getting to see Andrea Martin as Berthe, Pippin's grandmother.
A scene-stealer, for sure (as that role often is), but they spiced up that scene and gave her a lovely moment- probably in a way you've never seen before! I'll leave it at that.
Also a big treat, getting to see Broadway legend Terrence Mann.
How wonderful. He was so engaging and funny. I knew I was watching a master at work.
I also loved the woman who played Catherine, Rachel Bay Jones. That's the role I played in that long ago production, and I didn't quite grasp the character. The script really gives you nothing and I needed direction. Watching Bay Jones- she nailed it. She gave Catherine so many layers, it astounded me. These are professionals, people.
Pippin himself, Matthew James Thomas, was wonderful. He took what can quickly turn into a whiny, annoying character and also gave him depth and made him endearing and funny. I loved him.
I loved the ending of the show (except for the execution of the presentation of the "Big Finale," that seemed like a bit of a let down after all the fantastic magic we'd seen up til then). I loved how it really hit home and how sparse the stage was. And the little coda added was quite poignant.
I realize I'm getting this out there a little too late for most of you in Boston to go see it, but I strongly urge you to try. SRO is worth it! I've heard they've already got the marquee up on the Music Box theatre in NYC. I'm so happy for the cast and crew that this is going to Broadway- it was a truly wonderful production and I've had the songs running through my head ever since.
(All Pippin photos are by Michael J. Lutch from the A.R.T.'s production gallery section of the website)
I'm posting pics from the show (from the ART's website) and might talk about plot points from the show. If you care about this sort of thing and want to be surprised when you go see it here or on Broadway, read no further. I'll put the rest of the post behind a cut. You're welcome.
Disclaimer: I have NO idea if this cut works in RSS Feeds.
If you don't know the story of Pippin, generally, it's this: Pippin is the son of King Charlemagne and he's just finished his education and needs to decide what to do with his life. He's not sure what that is, so he begins a journey to discover the thing that will make his life fulfilling.
Also, more personal backstory on Pippin for me: This is the show that Gordon and I met doing. In fact, we met ELEVEN years ago this month starting rehearsals for Pippin!
Here's us: Fuzzy Goats!
Babies!
Anyhoo, so even though the show has some personal meaning, I still wasn't all that fond of the show itself. It's so loosey-goosey! Who really cares about Pippin himself? It's so dated! Sure, there's some great music, but overall? Meh.
Let me tell you: this production completely changed my outlook on the show. I say that with no exaggeration.
I am also chalking this up to a mixture of the production I was involved with not really being a great one (the director did not, how shall I say this? Direct?) and I've got eleven more years of life under my belt. I mean, I think I got what the point was- that is to say, I understood what Stephen Swartz and his co-writers were trying to say...I just didn't GET it. Or care. Because we didn't truly get to the heart of the matter in rehearsals. And because I was 24! And I had a crush on a boy.
But this production? I finally GOT it. I was moved. I AM PIPPIN!! WE ARE ALL PIPPIN!! Honestly, it's almost embarrassing.
From the very beginning, the opening number Magic to Do, I knew they had me.
This was going to be a spectacle. And rightly so! The ensemble was a mix of singer/dancers and performers with legit circus/tumbling/acrobatic skills. Which is exactly what I think this show needs. You need the tricks- the magic. And there were PLENTY of tricks. The performers were fantastic and had you on the edge of your seat with some of those moves.
They also cast a female Leading Player- Patina Miller - who is FABULOUS. Why don't places cast female Leading Players more often? I've only ever seen it done with a male in the role (as it was in the beginning, on Broadway), but the role is gender-neutral. The LP is never referred to- having it be a female works well.
One of the biggest treats for me was getting to see Andrea Martin as Berthe, Pippin's grandmother.
A scene-stealer, for sure (as that role often is), but they spiced up that scene and gave her a lovely moment- probably in a way you've never seen before! I'll leave it at that.
Also a big treat, getting to see Broadway legend Terrence Mann.
How wonderful. He was so engaging and funny. I knew I was watching a master at work.
I also loved the woman who played Catherine, Rachel Bay Jones. That's the role I played in that long ago production, and I didn't quite grasp the character. The script really gives you nothing and I needed direction. Watching Bay Jones- she nailed it. She gave Catherine so many layers, it astounded me. These are professionals, people.
Pippin himself, Matthew James Thomas, was wonderful. He took what can quickly turn into a whiny, annoying character and also gave him depth and made him endearing and funny. I loved him.
I loved the ending of the show (except for the execution of the presentation of the "Big Finale," that seemed like a bit of a let down after all the fantastic magic we'd seen up til then). I loved how it really hit home and how sparse the stage was. And the little coda added was quite poignant.
I realize I'm getting this out there a little too late for most of you in Boston to go see it, but I strongly urge you to try. SRO is worth it! I've heard they've already got the marquee up on the Music Box theatre in NYC. I'm so happy for the cast and crew that this is going to Broadway- it was a truly wonderful production and I've had the songs running through my head ever since.
(All Pippin photos are by Michael J. Lutch from the A.R.T.'s production gallery section of the website)