If you enjoy Fosse-style musicals, the First Year Players' new production of Pippin! probably won't disappoint. If you're a theater critic who generally hates musicals, attending a rough dress rehearsal where the second act wasn't even performed, you might feel a bit differently. While the cast still has a few days to work out the kinks, I, on deadline, should still be able to make some useful observations about the show. Knowing the characteristic tenacity and resourcefulness of theater people in times of crisis, I am confident that lovers of musicals won't be disappointed by FYP's efforts come show time.
Pippin! is a musical rendering of the life of the disenchanted son of Charlemagne, the first Holy Roman Emperor. The exploits of the title character are enacted, with the guidance of an occasionally participant narrator, as young Pippin looks for meaning in his life.
Because of time constraints I was unable to see the production's second act, which didn't make an appearance at the dress rehearsal I attended. The word on the street is that some impressive shock awaits the audience in the finale, but all I could discern was that it somehow involves a confetti-catapult.
The production's strongest point is indisputably its musical numbers -- which, in a Fosse piece, is just as it should be. The pit orchestra does a fine job indeed, and should be commended for its efforts, which keep the play moving throughout. The narrator, who sings quite frequently, is strong, consistent and confident.
At the dress rehearsal, these two forces for good occasionally came into conflict with one another, usually to the detriment of the narrator, who was drowned out almost entirely here and there. Similarly, the production's choreography is, in the main, stronger and more concerted than one expects from a student group. But at some points -- the battle scene especially -- the ensemble got in the way of the more relevant action.
By all indications, I imagine the show's biggest problem will be the prevailing generality of the characterization, especially during dialogue. Given that it's a musical, we don't look for the kind of specificity expected from a more serious work. But, often I found the relationships and interactions were simply not satisfyingly fleshed out. I especially wanted the estrangement of Pippin from his father to be more convincing.
Occasionally, it even seemed that sexual chemistry between cast members introduced extraneous and mis-directive overtones, sometimes with exceedingly bizarre results.
A lot of charming touches (for example, the little vignettes of preparation for war enacted on the sides of the stage) help to redeem these failings, and indeed slightly wilted characterization is not unusual, nor particularly damning, in the musical form.
FYP's Pippin! is an unabashedly campy musical. You won't go home and cry yourself to sleep over the yawning void of human purpose; you won't write any despair-oriented poetry. I don't think the show, although it ostensibly treats such themes, really wants you to. Instead you'll see a charming revue that asks fairly little from you in terms of emotional investment; if you enjoy musical camp in general, and jazz hands in particular, you'll have a good time.
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