preview of my unedited review of PIPPIN

Good morning, all --

 

here is an unedited copy of my review of PIPPIN that should appear on the pamphletpress web site either tonight or tomorrow.  As usual, just click on "Theatre Reviews."

 

Jim Seay

 

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Date:	Fri, 28 Apr 2006 08:18:40 -0700 (PDT)
From:	"James Seay" <james_seay31@xxxxxxxxx>  View Contact Details   Add Mobile Alert
Subject:	Review of PIPPIN at the Station Theatre
To:	"Jenny Southlynn" <jsouthlynn@xxxxxxx>

PIPPIN
 A Review by
 James L. Seay

 

&nbs p;Some folks go to extreme lengths to find a story for a musical play.  Very often a historical footnote will be dredged up and the playwright will take off from there.  When I was a mere lad in Miss Bane's history class at Enos School, I recall her explaining to her class that Charlemagne was "A pillar of light in the Dark Ages," as if any of us cared.  Miss Bane was, perhaps, somewhat correct inasmuch as Charlemagne did provide, albeit briefly, the only central political organization in Europe since the fall of the Roman Empire, but she wisely left unmentioned to her less than enthused group of seventh graders any mention of his first-born son, Pippin (or, as listed in most histories, Pippin the Hunchback).  Pippin was, indeed, a footnote in history.  He became friendly with nobles discontented with his father's reign, and was loosely involved in a failed coup in 792 A.D.  After the rebellion failed (and good ol' Charles, that "pillar of lig ht," duly executed the rebel nobles) Charlemagne formally disinherited his son, Pippin, who then seems to disappear into the dust of history.  His father eventually died in bed at age 72 (as opposed to being done in by Pippin as happens in the play) and is buried in Aachen.  He was succeeded as Holy Roman Emperor (even though he was neither Holy nor Roman) by his son, Louis the Pius.  Now enter Steven Schwartz some nineteen hundred years later.

 

 I have always considered Schwartz's Pippin as a truly forgettable musical.  It did garner a Tony for Irene Ryan (Granny on The Beverly Hillbillies), but, to me, that seemed to be the zenith of its theatrical importance.  Consequently, I must admit to a very real prejudice when I went to see the opening of Pippin at Urbana's legendary Station Theatre.  Boy, was I ever surprised, and pleasantly so!

 

 Even though Schw artz plays loose and free with the admitted sketchy written history of the 8th Century (who really cares?  After all, Charlemagne couldn't even sign his name!), Director William Panek's vision of the play was inspired.  Here, we seem to see a troupe of actors preparing to put on a show, even to doing their warm-ups and having casual conversations while the audience is taking its seat.  The overall effect is one of the troupe suddenly, almost spontaneously, falling into various characters and putting on the show.  The spontaneity seemed heightened by a costume design wherein virtually everyone is dressed in basic stage blacks, and what costume changes are made, are made right on stage in clear view of the audience.  Sheila Gleason's scenic design, at first glance, seemed to be done in early undergraduate dormitory, as it was (or so it seemed) nothing more than a loose collection of rather tacky bits and pieces of furniture that seemed salvaged from a dorm dumpster the day after summer vacation begins.  But it worked!  Obviously well thought-out, in spite of appearances, the set, well illuminated by the color and pattern of Benjamin Roy's lighting design, provided on-stage storage for numerous hand-props and costume pieces, places for the ensemble to sit and stand, and, perhaps most importantly of all, furthered the illusion of a spontaneous performance.  Director Panek's vision of the play brought about a life that I had not believed this script or score capable of, and one which fit on the tiny Station Theatre stage as though it were originally intended for this venue.

 

 Perhaps one of the happiest of surprises in a night of many happy surprises was Whitney Harvice's choreography.  In her Station Theatre debut, Harvice created a polished choreography the like of which I have not seen at the Station Theatre in a long time, if ever!  It was imaginative , appropriate, simple and effective.  I was particularly impressed with her handling of the battle scenes, an area where less imaginative choreographers often meet, with no pun intended or given, their Waterloo.  Another choreographic delight was the failed pas des deux symbolizing Pippin and Catherine's failed first sexual encounter.  Throughout, the choreography seemed driven by the play and became a truly effective means of communication to the audience.

 

 Among the actor/singers, I was particularly impressed by "The Leading Player," who serves as something of a narrator, played by Elizabeth Aronson who is also making her Station Theatre debut.  Nathan Luzwick, another Station newcomer,  as Pippin, brought a dynamic quality to the role that never flagged.  His singing voice is good, although, at certain times, particularly during "Corner of the Sky," he seemed to be stretching for one particular note, coming perilously close to being half a note flat.  But perhaps that is only my own less-than-perfect pitch kicking in.  Playing Charlemagne to its ham-ladened hilt was Station regular, Jim Dobbs, who used the role to delight the audience, but became almost tragically introspective in his final scenes before his assassination (something we never learned about in Miss Bane's Seventh Grade history class!).  Playing the role of Berthe, for which Irene Ryan won the Tony, was another Station newcomer, Wendy Becker.  Becker played the role more in the vein of Elaine Stritch than Irene Ryan, and, to this reviewer, it worked better.  Becker is an accomplished actress, but needs to belt out her songs with a bit more gusto.  Hers is the only vocal number that was, at least in part, drowned out by Chris Eubank's excellent pit orchestra.  Of special notice was the performance by young and precocious Dante Dobbs as Theo.&nbs p; Megan Cunningham's Catherine came across strongly, being a pivotal role at the end of the play.  The entire ensemble, doing a variety of parts, was well matched and did a superlative job of, again, creating the illusion of spontaneity.

 

 As I have noted before, this has been an unusual season for the Celebration Company at the Station Theatre with high highs and low lows.  While I went to the theatre not expecting much from Pippin, I am happy to say that the Station's season closed an a truly high and solid note.  It is heartening to see so much talent that is new to the Station's stage.  There is a new talent vein that can now be tapped in future seasons.  Not the least of that vein is the talent of first-time Station Director, William Panek.  I can honestly say that I, and a lot of the rest of the audience, will be anxiously awaiting Panek's next directing effort.

 -30-