This intimate production of Stephen Schwartz’s magical musical Pippin does a fine job of highlighting both the composer’s beautiful score and the show’s less-than-accomplished book.
Framed as a travelling troupe of magicians and illusionists recounting the story of Pippin, a young prince searching for meaning and satisfaction in his life, Roger O Hirson’s book often feels sluggish and lacklustre - in stark contrast to the show’s luscious score.
We meet the troupe, reimagined here as slightly more end-of-the-pier fare, led by the Leading Player (played by Emily Friberg). She is mysterious, quick-witted and profound in equal measure, with a vocal performance that is something to behold, pushing the show through its slower moments.
Taking inspiration from - and in some instances paying tribute to - original Broadway director Bob Fosse’s own unique style, director and choreographer Amanda Noar has given the show a sense of intrigue and seductiveness throughout. That is never more evident than during the iconic opening number ‘Magic to Do’, which sets the bar high with its vitality and inventive choreography, pulling in all aspects of the ensemble.
Lewis Edgar plays Pippin and follows up with the show’s standout solo number ‘Corner of the Sky’, having initially been introduced to the Upstairs at the Gatehouse audience as one of their own. Edgar’s chemistry with the rest of the company propels the story forward.
But it is the limitations of Hirson’s book that hinder what is otherwise a fine piece of musical theatre. Pippin never quite knows whether it is a comedic piece, bordering on pantomime with its frequent throwaway gags and cheap magic tricks, or a hard-hitting commentary on what it is to be alive.
Previous productions on Broadway have made use of a big budget, with glitzy set and costume designs matched by exuberant magic tricks. Indeed the recent West End anniversary concert performance was also pure spectacle - and perhaps Pippin is a show that does need a more lavish production to paper over its cracks.
That said, there are standout performances among this ensemble. Mia Quimpo gives the strongest acting performance as Catherine, Pippin’s love interest in what is a slow second act. She radiates joy through song and balances the overall tone of the show with ease.
Helena Caldas’s Fastrada strikes the right balance of funny and sexy, while Clare Brice’s Welsh take on Berthe had the audience in the palm of her hand, as ‘No Time At All’ once again proved what a fan favourite it is.
This is a solid take on Schwartz’s 1972 musical. You know this company and creative team would be able to do something truly special in a less confined space and with a bigger budget to boot - but it still remains a faithful retelling of the original show and is absolutely worth seeing for musical theatre fans and Schwartz completionists alike.
Pippin is playing at Upstairs at the Gatehouse until 11th January. For ticket information, see here.
Review: Tom Ambrose