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Printer-Friendly ModePippin missing some magic
December 3, 2007 —
Musicals are a troublesome lot. The vast majority of the time, the only real purpose a musical can have is spectacle with a simple and universal message, yet there are musicals that strive for something more. Pippin, the SVSU Theatre Department's latest production (and a Tony Award winning musical from 1973), seems to be a little confused about which category it wants to fit into, and that confusion seems to have affected Director Richard Roberts' take on the show.
The play is about a mysterious troupe of players' take on the life and times of Pippin, son of Charlemagne. Pippin is lost in his life purpose and spends the show exploring an assortment of ventures. His tale opens with his return from school, and in an attempt to win over his father, he takes an interest in his father's conquests, but eventually ends up pursuing love. His various pursuits lead him to an aforementioned "Finale"--where Pippin must finally choose his path. Self-aware and unconstrained in time, the script does offer some very funny ideas and references, along with some very weighted parallels to works like The Oresteia and Faustus.
As I already mentioned, however, the unclear nature of the script leaves the show's overall intent hard to ascertain. The first half of the show is almost entirely devoted to being a high-energy spectacle, so when the second act slows down in its search for purpose, it feels like a crawl. The references and parallels to the classical texts also seem to only further hinder the show, as it never utilizes the parallels and references for either commentary or greater meaning. Ultimately, the show struggles with profound themes about human nature and self-fulfillment among others, but never does anything more than scratch the surface of such weighty issues.
Roberts' rendition of the show doesn't help the already confused script. His edited opening to the show turns an SVSU facilities staff member into the leading player, which makes little sense later in the show when we see him for what he really is. Furthermore, the troupe is supposed to be without a Pippin, who is "chosen" from the audience, which is crucial because Pippin is meant to be a representation of every man. This is lost when Pippin simply appears on stage. Pacing also becomes an issue in the show with how fast some of the songs are - it was apparent the actors were having issues keeping up with both movements and lyrics at times - compared to the slowness of some scenes.
From there, there were various minor issues. The movable set pieces seem useful, but distracting because of their bright colors. The almost continuous use of spotlights fails to work as they never are clearly focused on the actors. Various troupe actors fail to maintain focus, which at times, draws attention from the scenes, and two of the females' leads hardly move during their solos, which causes the numbers to become stagnant.
With all its faults, however, Pippin isn't without some magic. "Glory" is, by far, the highlight of the show, featuring great choreography with a fantastic slow-motion battle. The expressions of Kurt McCool (as Pippin's brother), as he "slaughters" nearly everyone on stage in glee, are a riot to watch. Colleen Cartwright, as Pippin's grandmother, is hilarious in her song "No Time at All," and watch for some awesome pyrotechnical effects interspersed throughout the show.
The truest magic in the show, however, comes from sophomore Caleb Knutson as the leading player. He maintains a constant presence on stage whether overseeing from a swing suspended in the air or sitting amongst the rest of the troupe, and whenever front and center, he commands the stage superbly.
If only the rest of the show could have lived up to Knutson and these few moments, it would have been truly magical.
Pippin shows again Friday and Saturday at 8:00 p.m. and Sunday at 3:00 p.m. in the Malcolm Ford Theatre. Tickets are $13 for general admission and $10 for senior citizens and students.