Stephen Schwartz's time-honored gems continue to cast a spell on audiences at Pippin, the eccentric picaresque that catapulted its composer and lyricist to stardom back in 1972. Now, reimagined for a contemporary fringe venue, the show takes on an air of ramshackle narrative conjured from thin air by a band of travelling players.
The production, directed and choreographed by Amanda Noar, is framed as if the entire ensemble had been thrust into this unconventional setting to recount their own tales. The result is a delightfully unorthodox framing device that heightens Pippin's naivety, courtesy of lead actor Lewis Edgar being plucked from the audience to play the titular role. Emily Friberg's commanding presence as the authoritarian Leading Player further underscores the character's spellbinding control over her troupe.
While some might lament the lack of capturing the musical's prevailing malevolence, Schwartz's beguiling songs – such as "Cats fit on the window sill, children fit in the snow" – remain a highlight. Bob Fosse's choreography for the Manson trio and Hannah Danson's eclectic costume design masterfully evoke 1970s flair.
Simon Jackson's golden lighting perfectly underscores the emotional depth of performances, including Lewis Edgar's gentle delivery of Morning Glow, where Simple Joys abound amidst hula hoops flying across the stage. The show also boasts a talented supporting cast, with standout performances from Clare Brice as Berthe and Mia Quimpo in her professional debut as Catherine.
If Pippin is indeed the tale of a boy becoming a man, it ultimately fails to fully solidify its narrative footing due to Edgar's disjointed portrayal. Nevertheless, the show's core message – of searching for meaning beyond traditional boundaries – shines through in its whimsical storytelling and simple yet effective musical numbers. Despite some missing darkness from its original context, Pippin continues to cast a spell on audiences with its enchanting blend of weird magic and straightforward wonder.
The production, directed and choreographed by Amanda Noar, is framed as if the entire ensemble had been thrust into this unconventional setting to recount their own tales. The result is a delightfully unorthodox framing device that heightens Pippin's naivety, courtesy of lead actor Lewis Edgar being plucked from the audience to play the titular role. Emily Friberg's commanding presence as the authoritarian Leading Player further underscores the character's spellbinding control over her troupe.
While some might lament the lack of capturing the musical's prevailing malevolence, Schwartz's beguiling songs – such as "Cats fit on the window sill, children fit in the snow" – remain a highlight. Bob Fosse's choreography for the Manson trio and Hannah Danson's eclectic costume design masterfully evoke 1970s flair.
Simon Jackson's golden lighting perfectly underscores the emotional depth of performances, including Lewis Edgar's gentle delivery of Morning Glow, where Simple Joys abound amidst hula hoops flying across the stage. The show also boasts a talented supporting cast, with standout performances from Clare Brice as Berthe and Mia Quimpo in her professional debut as Catherine.
If Pippin is indeed the tale of a boy becoming a man, it ultimately fails to fully solidify its narrative footing due to Edgar's disjointed portrayal. Nevertheless, the show's core message – of searching for meaning beyond traditional boundaries – shines through in its whimsical storytelling and simple yet effective musical numbers. Despite some missing darkness from its original context, Pippin continues to cast a spell on audiences with its enchanting blend of weird magic and straightforward wonder.
... The thing is, it's like the show is trying to say something, but sometimes I feel like we're missing half the message 
. I mean, they took out some of that darker stuff from the original and now it just feels kinda... watered down? But at the same time, there are still these amazing songs 
and Emily Friberg's performance as Leading Player is straight fire 
! And can we talk about Lewis Edgar's energy on stage? He's got this crazy charisma that makes you wanna watch him play Pippin all night long 
... I guess what I'm saying is, it's a show that's still got some magic to it, even if it doesn't quite land as hard as it could 
.
and I'm still reeling! they completely reimaged the show for a modern audience and it's so refreshing to see 
, the way the ensemble is framed as these travelling players recounting their own stories is genius! and lewis edgar as pippin is such a great choice, his energy on stage is infectious 
. but yeah, i can see how they might've lost some of the original's darker vibes 
. overall, it's a show that's all about wonder and whimsy, which I am totally here for 
! I mean, it's not every day you see a show where the actors are like, "Hey, we're just going to make this up as we go along" 
. And honestly, it kinda works? I love how they've reimagined the whole thing, making it feel all improvisational and whatnot. It's like the audience is part of the story too! 
The performances are top-notch, especially Emily Friberg as the Leading Player - she totally owns that role 
.
. And let's be real, those songs by Stephen Schwartz? 
. All in all, I'd say it's definitely worth checking out for its weird and wonderful magic 
and that supporting cast is on point! Clare Brice's Berthe stole the show for me, and Mia Quimpo's Catherine was a total standout in her debut 
. but then again, maybe that's the point? 
The lead actor playing the main role is kinda weird, feels like they're trying too hard to be relatable or whatever 
. but overall, I'm still not sure if pippin lives up to its original hype... maybe it's just me 
. But I feel like they've lost a bit of that edge that made the original so darkly fascinating. Lewis Edgar's performance as Pippin is cute, but it feels kinda...off 
.
. And Lewis Edgar's not bad as Pippin, but he does kinda stumble over his lines at times 
. Still, those old songs by Schwartz are pure gold 
. But what really got me was Clare Brice's performance as Berthe - she brought a new level of depth to that character 
I LOVED HOW THE LEADING PLAYER, EMILY FRIBERG, STEAMED UP THE STAGE WITH HER AUTHORITY. BUT, I FEEL LIKE SOME OF THE CHARACTERS COULD'VE BEEN DEVELOPED MORE, ESPECIALLY PIPPIN HIMSELF 
and emily friberg as the leading player is just EVERYTHING 
the costumes and lighting are also EVERYTHING - bob fosse's choreography for the manson trio is iconic 
It's like they're all part of some wild improv group, but with fancy lights and costumes. And that song "Cats fit on the window sill" is still stuck in my head... I mean, what even is that about?! 
. the cast did an amazing job bringing out their own energy and quirks, especially Clare Brice as Berthe, she brought that scene to life 
Still, those songs by Schwartz are pure magic 
!
! overall, pippin's message about searching for meaning is still so relevant today 
. It just goes to show that at its heart, Pippin is all about finding meaning and wonder in life, even when things get a little weird and wonderful 
!