Arizona State University Lyric Opera Theatre's Pippin at The Music Theatre
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 2/25/00
(out of )The musical Pippin was a success only because of a thirty second TV commercial. In 1972, mediocre composer and lyricist Stephen Schwartz put together a weak musical about a young man in the middle ages who drifts from adventure to adventure looking for the thing that makes him extraordinary. The music was dated. The lyrics were uninspired. The book was alarmingly thin. The best thing that could ever have happened to this show was Director/Choreographer Bob Fosse, who took this tame musical comedy, and injected it with a torrid sexual component. Even Mr. Fosse's staging wasn't enough for the critics, though. In danger of closing, Mr. Fosse put together a commercial featuring his star, Ben Vereen, and two lovely ladies of the ensemble, seducing audiences into attending for 1,944 performances. The fact that the commercial had little to do with the show was irrelevant, and is why it hasn't gone the way of other lame musicals of this time, and disappeared into obscurity like Purlie, or The Rothschilds.
The musical is perfect for ASU's Lyric Opera Theatre, as it has a large ensemble, several great roles for talented singers, and a dark undertone that gives the performers something to play against. Director Graham Whitehead has scored a second hit in the month of February, guiding this production against its early '70s roots, and creating a welcomed revisionist Pippin that owes more to Cirque du Soleil than Synthesizer Rock. Granted, there are a few moments when Mr. Whitehead's choices don't work, but better wrong choices than none at all.
Mr. Whitehead's most notable revisions involve casting against type, as he did with AJTC's Dear Esther earlier this month. While Pippin and his eventual love interest, Catherine, have remained similar to most other productions, rather than an African American man as traditional in the role of the Emcee-like Leading Player, he has cast the talented Alissa James. He has turned the character of Pippin's grandmother, Berthe, into a drag tour d'force for the hilariously scene-stealing and show-stopping Ithamar Enriquez, Jr. Finally, he has turned evil stepmother Fastrada into a nubile Nubian princess with the casting of the leggy Christin Hill. By taking this production from rag-tag commedia del arte presentation to sinister circus event, Mr. Whitehead may have tipped his hand as to the oft-mentioned finale, but he has also made the overall more interesting to experience.
Ms. James does a solid job in her gender-bending portrayal of the Leading Player, balancing sinister with sultry, although she has diction problems, slurring some of her faster songs, notably the quick-tempo "Simple Joys." Also, her connection with Matt Sopha as the erstwhile Pippin could have had more sexual tension. Mr. Sopha has a beautiful voice and does a great job with dancing. He must fight against his character's milquetoast demeanor, a battle that can only be blamed on the book itself. Lindsey Jager's young widow, Catherine, is lovely of voice and fair of face, though she doesn't bring across quite enough of the character's scheming to balance her sweetness.
In what is obviously a choice of the director's that doesn't always work, each of the supporting characters in Pippin's life, including Mark White as his father, Charlemagne, Mr. Enriquez and Ms. Hill, are given vocal quirks to highlight each of their songs. While it works for Mr. Enriquez, the simpering presentation of Mr. White's song, "War is a Science", and the oddly operatic offering of Ms. Hill's "Spread a Little Sunshine" undermine their performances. Jo Ann Yeoman's choreography, though, wisely keeps Mr. Fosse's original tones when needed, such as during "With You", but brings in a bit of her own style in the dancing of songs like "On the Right Track."
As there was no program for the performances on opening weekend, I don't know who to compliment for the imaginative set or lighting, or who to chastise for the problems with the sound, but I do know that William Reber conducted the orchestra, which often overwhelmed the performers. Special thanks to LOT's efficient coordinator, Adam Prine, for getting me the cast list at intermission to complete this review. Would the Department of Theatre had been so exacting.
Yes, the music still screams of 1972, the lyrics are uninspired and the plot and is still alarmingly thin, but Mr. Whitehead and most of his cast and crew have injected this musical with enough originality to make it a joy to watch.
Production Details:
Pippin Music & Lyrics by
Stephen Schwartz, Book by Richard O. Hirson (Bob
Fosse uncredited)
Arizona State University's Lyric Opera Theatre
ASU's Music Theatre, Tempe
(480) 965-6647
February 25th - March 5th, 2000