A
Dark and Dazzling “PIPPIN”:
Diversionary
upends the Stephen Schwartz classic in a brilliantly re-imagined revival
By
Donnie Matsuda
There’s a lot of magic to be done in any production
of the musical Pippin, as its large ensemble
cast must transform into a fanciful troupe of performers who re-enact the life
and times of real-life 8th century prince Pippin the Hunchback, the
eldest son of King Charlemagne. Of
course, there is a script they must follow (a crafty and somewhat disorderly
book by Roger O. Hirson peppered with plenty of social and political commentary)
and songs they must sing (a pleasantly melodic, if a bit plaintive, score by
Stephen Schwartz). But as the show-within-a-show follows Pippin on his post-college journey of self discovery, one
can’t help but feel like there’s something special and a bit surreal going on
as the machinations of the show’s narrator, the Leading Player, keep us
transfixed on the proceedings. As we
watch Pippin attempt to find some purpose in his life, knowing that he’s
destined for extraordinary things, there’s clearly a magical force at play,
guiding him through frivolous pursuits of battle, backstabbing, sexual
debauchery, drugs, power, and, ultimately, a happy (albeit, ordinary) ending.
 |
| Courtney Corey as Leading Player and Louis Pardo as Pippin in Diversionary's "Pippin." Photo by Ken Jacques. |
And most certainly, there is even more magic to be
done in Diversionary’s edgy and raw revival.
That’s because director/choreographer James Vasquez has taken the
original version of Pippin and
meticulously turned it upside down and inside out, re-imagining nearly every element
so that it all comes together with a heavy-hitting pop-rock vibe. Not only does his funky staging fill the
small space beautifully (with actors occasionally coming out into the aisles),
but his spirited choreography is impressive and exciting to watch. He duly pays homage to the show’s original
director/choreographer, Bob Fosse, but also seamlessly interweaves a number of
other dance styles – from syncopated tap breaks, to sensual pelvic thrusts, to
plenty of creative prop-ography – that provide visually intriguing pictures and
move the action along in meaningful ways.
 |
| The Company of "Pippin." Photo by Ken Jacques. |
Casting is often a tricky thing with a play like Pippin, but Vasquez is blessed to have
found an insanely talented bunch of musical theatre mavens who fill his
re-vamped artistic vision to a tee. Louis
Pardo turns in a passionate performance as Pippin. Not only does he trace his character’s arc
(from eager scholar to confident monarch to defeated realist) seamlessly, but
he also showcases his soaring tenor in a beautiful rendition of “Corner of the
Sky” and his pleasant, easygoing voice is put to good use in “With you”
and “Extraordinary.” As Pippin’s right
hand man (or in this case, woman), Courtney Corey is both fierce and fearless
as the Leading Player. Sporting a black
leather bustier and powerful pumps, she commands the stage at every turn and
dazzles the audience with her piercing looks, pitch-perfect pipes, and attitude-heavy
narration. Now all she needs is a whip
and a sling and she’d be ready to rock and roll!
 |
| Luke Jacobs as Fastrada. Photo by Ken Jacques. |
The other players in the eight member cast are all
incredibly strong singer/actor/dancers and they provide outstanding support while
also doubling in a number of character roles.
In a truly genius bit of gender-bending, the role of sex-starved
housewife Fastrada (Pippin’s stepmother) is played to aplomb by Luke Jacobs in
drag. His/her seductive, hip-swiveling
rendition of “Spread a little sunshine” is a hoot, as he/she lusts after his/her
son, Lewis (Pippin’s half-brother), who is here re-envisioned as a strong and
straight gun-toting military man, thanks to some solid acting chops by Tony
Houck.
And then there’s the delightfully
droll Wendy Maples as Pippin’s grandmother, Berthe. Her first act show-stopper, “No time at all,”
is one of the show’s highlights as she channels nearly every musical there diva
in her cabaret-style number, complete with a bevy of boy back-up dancers (what
else would you expect from a theatre queen!?). And Megan
Carmitchel as Catherine and Hunter Schwartz as her son Theo provide some truly
gut-wrenching and heartfelt moments in the second act, as they introduce
Pippin to the joys of a simpler, humbler life in “Kind of woman,” “Prayer for a
duck,” and “Love song.” Then there's Diversionary
veteran Andy Collins who nicely rounds out the cast as a strong-willed, though not
terribly strong-minded, King Charles.
 |
| Louis Pardo as Pippin, Megan Carmitchel as Catherine, Hunter Schwartz as Theo, and Courtney Corey as Leading Player. Photo by Ken Jacques. |
Not only are the artistic elements here re-vamped,
but the technical elements are equally intriguing and impressive. Sean Fanning’s grungy set is a modern-day
mash up between "RENT" and "American Idiot" and makes a fresh statement about the
technology-dominated, hyper-commercialized world we live in. Not only do his bleak heaps of trash form an
intriguing collage of crap, but his set is also embedded with a number of TV
screens – rigged as security cameras and live video feeds - which serve as an
omnipresent reminder to us that big brother is always watching. And the technical fascination with media
imagery and shameless consumerism is carried over into Shirley Pierson’s
deconstructed costume designs. Her
punk-rock style gives an eclectic look to the characters (with plenty of
leather, distressed denim, and ripped, recycled fabrics to inhabit a small
landfill) and she manages to insert some truly clever creations into her
design, such as armor plates made of beer boxes and a king’s cape made of faux
fur and an American flag.
While Pippin
feels a bit dated in style, Diversionary’s raucous new re-telling does a
first-rate job of bringing it into the twenty-first century with a little bit
of modern-day macabre and a whole lot of musical theatre magic. With a genius new concept, top notch talent,
and impressive technical achievements, this Pippin is truly an “extraordinary”
musical journey and one that is not to be missed.
Things
to know before you go: PIPPIN plays at Diversionary
Theatre at 4545 Park Blvd San Diego, CA 92116 through October 14, 2012. Running time is 2 hours and 15 minutes with a
15 minute intermission. Performances are
Thursdays, Fridays, and Saturdays at 8pm, Sundays at 2pm. Tickets are $36-$41. For more information or to purchase tickets,
call (619) 220-0097 or visit www.diversionary.org.
