Pippin
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Photo by Craig Schwartzr
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By Ben Miles
Vaguely inspired by the true life of Pippin the Hunchback, the son of French monarch Charlemagne, Pippin the musical, under the direction and with the choreography of the late but legendary Bob Fosse, made an award-winning impression on Broadway in 1972. With music and lyrics by Stephen Schwartz (Wicked) and a book by Roger O. Hirson, the show has, over the decades, been diminished in reputation and is now typically thought of as a mildly bawdy, largely innocuous stage romp. This is despite the fact that Fosse's aim was to create a troubling and truthful production of Pippin with a surrealistic edge to it.
Currently onstage at Los Angeles' Mark Taper Forum (through March 15) is the latest iteration of Pippin, this time directed and choreographed by Jeff Calhoun. And while the devotion to Fosse's emphasis of the show remains intact, the razzle-dazzle of this Pippin is found in its collaboration and integration with Deaf West Theatre (which, along with the Center Theatre Group, co-produced the proceedings). The story--songs and dialogue--is conveyed in both the English language and American Sign Language (ASL). Indeed, several members of the sizeable ensemble of players are double cast. For instance, the title character is embodied by two actors--sweet-voiced Michael Arden and physically expressive Tyrone Giordano--the former provides the vocals for Pippin's characterization, while the latter provides the role's kinesthetic poetry through the use of ASL. Surprisingly, these dual Pippins add complexity and comedic opportunities here that wouldn't be easily available in a solo interpretation.
Above all, Pippin is a coming of age tale, and in its own right it's about rites of passage and the hero's journey. Only in this scenario, what our protagonist discovers is that home is where the hearth and heart reside. The ultimate victory in life's battles is found in personal and familial commitment, a moral made to seem somewhat peculiar in light of Pippin's act of patricide.
Nevertheless, with 16 song-and-dance routines (orchestrations by Tom Kitt, with Steven Landau lending musical direction) the Pippin we see alternates between high-voltage entertainment and enervating ennui. In one song, "No Time At All" (performed with comedic élan by Harriet Harris as Berthe) the audience is invited to sign-along as the lyrics are displayed on a huge scroll, held by two players. The words say "Oh, it's time to start livin'/Time to take a little from the world we're given." Good advice. And when Pippin is livin' it is a wonderful world we're given. But at two hours without an intermission we anxiously await our release into the real world as the protracted dénouement creeps forth.
Ty Taylor is intense but restrained as the so-called Leading Player (the role for which Ben Vereen won a Tony Award back in '72), a sort of emcee guiding us through the plot convolutions to the story's conclusion. Also, Troy Kotsur and Dan Callaway prove to be a good coupling as King Charlemagne (with Kotsur signing and Callaway singing). Moreover, Sara Gettelfinger is amusing as Pippin's opportunistic stepmother, who's intent on having her son--Pippin's half-brother--Lewis (a hilariously coiffed and muscularly chiseled James Royce Edwards), inherit the throne. With Tobin Ost's creative costuming and glitzy scenic design, there's plenty of visual sugar to be consumed here. But the sweetness is laced with a free-spirited subversiveness and sensuality that makes this Pippin a PG-13 production.
Pippin continues through March 15 at the Mark Taper Forum--135 North Grand, Los Angeles--Tuesday - Saturday at 8pm. Matinees are at 2:30 p.m. on Saturdays and 1 p.m. on Sundays. There are also Sunday performances at 6:30 p.m. For reservations, dial (213) 628 - 2772. For more details, visit www.CenterTheatreGroup.org
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