Review: PIPPIN, Upstairs at the Gatehouse
Photo credit: Inigo Woodham-Smith
Almost half a century before the global phenomenon that is Wicked, composer-lyricist Steven Schwartz was already a Broadway wunderkid. Aged only 24, Schwartz had three shows concurrently playing on Broadway, including Pippin (the other two being Godspell and The Magic Show). Running from 1972 to 1977, Pippin was then one of the longest-running shows on Broadway, but the 1973 transfer to London closed in less than three months.
Although Pippin is supposed to be the son of King Charlemagne, the show makes no claims to any historical accuracy. Instead, it tells the story of how the young prince, brought up to believe he is destined for an extraordinary life, seeks fulfilment before settling for a life more ordinary.
Why the show was such a success on one side of the Atlantic and not the other perhaps is explained partly by its historical context. Pippin seeks meaning through the glories of war, hedonism, or political power, and just as he finds each of these hollow, so too, in the 1970s, were Americans disillusioned with the Vietnam War, less enamoured of the hippie movement, and increasingly unhappy with President Nixon. The fact that Pippin kills his father, the King, may also not have gone down well with a British audience!
A 2013 US revival was another success but here in the UK, Pippin has remained something of a niche interest, despite songs from it being made popular by the Jackson Five. So it is a pleasure to see the show at Upstairs at the Gatehouse. Mounted by Chromolume, a company has been brought together that does full justice to Schwartz’s enchanting music and Roger O. Hirson’s picaresque book.
The opening number ‘Magic To Do’ introduces the lively Company of Players admirably kept in line by Leading Player Emily Friberg. There is literal magic in the routine (magic consultant Martin T. Heart) and in true conjurer fashion, Friberg plucks a seemingly random audience member up on stage to be Pippin. Charmingly played and sung by Lewis Edgar, his rendition of Pippin’s ‘Corner of the Sky’ is full of youthful longing and ambition.
Turning first to war in the hope of finding meaning, Pippin is disappointed that there weren’t “more plumes,” and a visit to his grandmother convinces him to try a life of pleasure. As the Grandmother who hopes to stay young until she dies, a cartwheeling Clare Brice delivers one of the breeziest songs of the show, ‘No Time At All’ which, thanks to some audience participation, is likely to become an earworm. (Just to be clear - this show is no pantomime, it has a dark side).
Alas, the pleasures of the flesh also prove unfulfilling. Enter Pippin’s stepmother, Estrada (a seductive Helena Caldas), who, motivated by plans to advance her son, Lewis (Daniel North embracing acting a himbo), persuades Pippin to hasten his ascent to the throne by killing his father (Oliver Wood). While as King, Pippin is initially able to ‘Spread a Little Sunshine”, he quickly learns that with great power comes great compromise.
The second act follows Pippin’s coming to accept that maybe an extraordinary life is not necessary, and it is here that anyone not familiar with the show may find the plotting somewhat confusing. Up until now, the Leading Player has largely come across as watching and commenting on the action, but now she intervenes directly when Pippin’s love interest, Catherine (Mia Quimpo giving a touching performance), appears to go off script. The Leading Player is determined that Pippin should still have a grand finale (albeit a rather sinister one), and it becomes apparent that the Leading Player is in charge of events (or thinks she is). Are we actually watching a play within a play, or are the players’ voices within Pippin’s head? It’s ambiguous, and to be fair, the problem lies in the show’s book, but the production might have taken a clearer stand on exactly who The Players are.
Bob Fosse directed the original production, while Diana Paulus’ 2013 revival framed the show within a circus. Amanda Noar’s choreography (she also directs) nods towards both of these prior productions with sharp and acrobatic dance moves, without ever slipping into pastiche. Hannah Danson‘s costumes blend circus with medieval, and her simple sets, helped by Simon Jackson’s lighting, provide a strong sense of this being a troop of travelling players. Music director Harry Style (assisted by Manuel Gageiro) produces a big sound from his four fellow musicians.
A 1998 production introduced a new ending, wherein the players turn their attention from Pippin to his stepson, Theo, reframing the story as cyclical: every generation has to deal afresh with temptation. Thus the themes of Pippin are timeless, and we should be grateful to the team at Upstairs at the Gatehouse for bringing the show round again.
**** Four stars
Reviewed by: Mike Askew
Pippin plays at Upstairs at the Gatehouse until 11 Jan, with further info here.