On Theater: ‘Pippin’ still a bright ‘corner of the sky’
When “Pippin” first burst onto Broadway in 1972, John Rubinstein starred in the title role of the son of Charlemagne seeking his own little corner of the sky.
Well, “Pippin” is back and so is Rubinstein, only this time, 42 years later, he’s playing Charlemagne (or “Charles,” as the character is billed) in the high-spirited revival now occupying the Segerstrom Center for the Arts.
This isn’t your father’s (or grandfather’s) “Pippin.” In apparent acknowledgment of the show’s paper-thin plot, director Diane Paulus has brought in choreographer Chet Walker to create some elaborate movements ranging from Barnum and Bailey to Olympic gymnastics.
The result is a virtual three-ring circus of eye-popping action and an enthusiastic orchestra often drowning out the Stephen Schwartz lyrics. Muscular troupe members (billed as “players”) perform difficult and seemingly dangerous feats of strength and agility, as well as a little magic on the side.
At the center of all this razzmatazz is young Pippin — Kyle Dean Massey in a star-making performance — joined by the lustrous Sasha Allen as the “Leading Player,” who both narrates and “directs” the action, frequently stopping the show to caution actors to stick to the script.
Massey exhibits performing and physical skills as he hurdles through the steps of life (becoming king is just one of them) on his way to his “Corner of the Sky,” the musical number that becomes his theme. He’s especially powerful when delivering the first-act closing number “Morning Glow.”
Allen does yeoman duty as the ringmaster of an elaborate circus, joining in on the action and exhibiting a superior singing voice. She’s a major part of the activity, but there’s no doubt that she’s in charge. It’s a bravura performance.
As for Rubenstein, he emerges as vocally commanding with a wry sense of assumed power. He tosses off some of the show’s best lines in a portrayal reminiscent of his counterpart in “Spamalot.”
The biggest name in the cast, however, is Lucie Arnaz, playing Pippin’s aged but still agile grandmother. In her show-stopping number, “No Time at All,” she engages the audience in singing along with her and exhibits her world-class showbiz bloodlines (Mom and Dad were Lucy and Desi) to thunderous appreciation.
Callan Bergmann has some strong moments as Pippin’s younger, more warlike, brother. Kristine Reese is captivating as the young widow he encounters and fights his attraction for. Lucas Schultz and Zachary Mackiewicz share the role of her bratty 10-year-old son, Schultz being quite effective opening night.
Walker’s frenetic dance movements mirror the style of the late Bob Fosse, who directed the original Broadway version. The ubiquitous circus activities backing the show are the work of Gypsy Snider, while the pungent musical flavoring is added by Nadia DiGallonardo, with orchestration by Larry Hochman.
“Pippin” will be a brand-new treat to most theatergoers, many of whom weren’t born when the show first premiered. It’s a spectacular night under the big top at the Segerstrom Center for the Arts.
TOM TITUS reviews local theater for the Daily Pilot.
IF YOU GO
What: “Pippin”
Where: Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa
When: 7:30 p.m. Tuesdays through Fridays, 2 and 7:30 p.m. Saturdays, 1 and 6:30 p.m. Sundays until Nov. 23
Cost: Starts at $29
Information: (714) 556-2787 or https://www.scfta.org
