“Pippin” was performed from April 10-14 in Brodie Hall’s Alice Austin Theatre. The musical is based on a group of performers as they act out the life of Pippin, son of Charlemagne. Geneseo’s particular production of this musical included references to modern social media and television shows (Courtesy of Keith Walters ‘11).
Plenty of magic, music and existential anxiety occupied Brodie Hall’s Alice Austin Theatre this weekend as the cast of “Pippin” remade the classic 1972 musical about a young man searching for meaning in life.
“Pippin” follows the path of the titular heir of the great ninth century king Charlemagne—portrayed by mathematics major sophomore Rocky Nardone—as he makes his way in a confusing world full of unobtainable expectations. As Pippin—portrayed by musical theater major junior Brett Hammes—tries to find his purpose, a maliciously mysterious Leading Player—musical theater major junior Annie Levine—points him in all sorts of directions toward war, lust and accidentally, love.
Characters, like Pippin’s flamboyant younger half-brother Lewis—pre-biology major junior Patrick Jones—his conniving step-mother Fastrada—musical theater major senior Katelyn Brooks—his defiant grandmother Berthe—communication major sophomore Kelsey Roberts—and his somewhat downtrodden paramour Catherine—communication major senior Erin Burris—contribute their own perspective and prescriptions throughout the show.
Within the musical’s relatively straightforward storyline is a more complex storytelling element: each of the characters on stage is actually an actor playing a part. As they tell Pippin’s story, the cast explicitly tries to entertain the audience as best they can, eventually revealing how dangerous it is to fixate on glory, entertainment and performance.
Director Scott Scaffidi worked to bridge the gap between the 800s and 2019 through staging that connects the musical to modern TV using two on-stage television screens throughout the show. Pippin explores different sexual partners in the style of “The Bachelor,” Fastrada schemes in the style of a “Real Housewife” and the show’s war scene receives the cable news treatment.
“I knew I wanted to do a modern telling of the story; I began to think about what influences young people today,” Scaffidi wrote in a director’s note in the program. “How do they respond to the world around them and what makes them feel important?” College students can certainly find much to sympathize with in a story of a recent graduate trying to find his way. The show was at its best when it brought that theme through to the audience.
The mid-show “Morning Glow” number, in which Pippin reckons with the consequences of a life-changing decision, earned almost a full minute of audience applause. The budding relationship between Pippin and Burris’s lovable Catherine receives a fittingly beautiful “Love Song,” that clearly affected audiences. Burris’s openly pessimistic “I Guess I’ll Miss the Man” did the same.
Each number ably shows the audience a version of their own life struggles. Although the audience has never have been on a battlefield against the Visigoths or in the court of the Holy Roman Empire, most have likely encountered love, loss and the crossroads of a tough choice. When it approached these themes, the cast handled them well.
The show also effectively integrated new and entertaining choreography to the style of Bob Fosse’s sleek original, and Diane Paulus’s innovative revival. The use of hand fans from the “War Is a Science” number onward especially showcased that strength.
Of all its positive elements, the performances of “Pippin” deserve the most praise. Brooks’s Fastrada, Roberts’s Berthe and Nardone’s Charlemagne all captivate the audience during their relatively short stints at center-stage. Brooks’s impression of a hammy reality show diva and Nardone’s brusque drag-queen-king especially earned the audience’s adulation.
Hammes’s performance as Pippin deserves top honors. The performer turns what could easily be a bland character into someone who reflects the audience’s own sense of self and self-doubt, sustaining audience interest throughout. The chemistry between Hammes and Burris also helps to make the show’s climactic closing moments more believable.
Yet the show, like any, missed its mark at times. The screens and references to popular culture provided some momentary delights, but often distracted from the broader plot or dialogue. This factor especially took away from the play’s more political messages about war and government, although, of course, that may have been intentional.
With its magic done and glory acquired, the cast and crew of “Pippin” can rest happily with their creation.