Coming straight off the back of the acclaimed, 'Godspell' (1971), composer Stephen Schwartz, along with legendary Broadway director / choreographer Bob Fosse mounted a new production, 'Pippin'. There are many parallels between the two shows, and both are products of their contemporaneous milieu, but for some reason, 'Godspell' remains a well known show, whilst 'Pippin' seems to have been sidelined, and so it was wondeful to see such an energetic and faithful recreation of the show by Manchester University's Musical Theatre Society.
The UMMTS (as the society is abbreviated to), has a constantly changing membership. The cast and crew of each production having been sourced from the current university student body, and how they manage to find such talent, every time, is nothing short of a wonder. One might even say that it was 'extraordinary' (a-hem...!)
The story of 'Pippin' is a little strange. Emperor Charlemagne and his son, Pippin, are real historical characters. However, that is the only historical accuracy in the entire show. Here Charlemagne is shown as a ruthless warrier, womaniser, and all-round evil despot, preferring his other son, Lewis, over Pippin, as Lewis has more qualities which Charlemagne admires, whilst Pippin is a dreamer, and ideologist, and sets off on a quest to find the meaning and significance in his life. Act one is very upbeat and is much more in standard musical theatre vein; whilst act two takes the pace down quite a lot, and becomes more reflective, obscure, and dark. Perhaps this is why the musical hasn't stood the test of time like others from the same period have.
We are in a circus tent (or similar); a ring master (or 'Leading Player') controls the cast and the story, and they (the troupe of travelling players) perform their story of 'Pippin' for us. It is where the line between strolling player and real character become a little blurred that the show becomes more interesting and meaty.
Nyah Nish played the role of Leading Player. I have to admit to not being able to relate to her much at the beginning as she kept a very po-face and was incredibly dour in her characterisation. Once she warmed up and grew into the role though losing the austerity she had created, the role suited her very well indeed. A talented performer who can sing and dance to a high standard too. Charlie Steggall's 'Pippin' was excellent. Steggall too, grew throughout the show, although his growth was scripted and directed and was a joy to see. A well-measured performance by a personable actor who understood the character's arc, and worked intelligently through the piece adding a few lovely touches such as an incredibly athletic gymnastic display during a song in the second act.
The supporting cast were all very good. I shall make particular mention of the females however, who all had not just a superb understanding of their roles and characters - they also proved to be consummate actresses too. Sophie Chamberlain's plaintive and humble approach to Catherine was excellently observed; Heather Harrison's glint-in-the-eye grandmother who isn't yet ready to have the "old" moniker was excellent; and Isobel Rust had just the right amount of scheming using her sexuality well as Charlemagne's current wife. Roisin Craney was convincing as an 11 -year old boy.
If I am honest then I found the two male leads were overacting and trying to find comedy where there was none by shouting or posing a lot quiet unnecessarily. Whether this was directorial or not I couldn't say. It was obvious that both actors had the potential to create meaningful characters, but Charlemagne (Minh Ngo) in particular, was very OTT in his characterisation thus losing much of the nuances and subtleties of his character.
The chorus work was, generally, superb. They worked as a true ensemble, and the quality of their harmony singing was delightful. Some great characterisations emerging from them as recognisable individuals, and the choreography (Molly Henman) was creative and used the cast to their best advantages.
Directed by Jessica Bradley, this production of 'Pippin' was very much a traditional one, sticking very closely to the original ideas and overall design of the show. I acknowledge and applaud the inclusion of the so-called 'Manson Trio', and the use of the preferred 'Theo Ending'.. without it, the show feels somehow incomplete. However, I have no idea why the show started at 8pm. This was a little too late for a full 2,5 hour musical. I did like, however, the employing of a close-up magician to entertain small groups of audience members during the interval - a nice touch.
The costumes and make-up, again, in general, were very good and well thought-through, working well. It was the lighting this evening which I sadly found lacking. The use of gobos worked well, and generally, the ideas behind the lighting were sound; it was the actual execution of them that didn't work. Cast members were oftentimes in semi-darkness when performing or would move from semi-darkness into brightly lit without any reasoning behind it. The lights were also quite often performing a "disco routine" all of their own, meaning I was focusing on them when I should have had my focus on the actors. Odd.
Muscially the show was very secure, and a large band (hidden away in another room) under the direction of Sam Talbot-Williams sounded amazing. The sound levels coming through the mics being just about perfect.
'Pippin' was a highly enjoyable show; and even despite my above criticisms, a high energy, entertaining, and well produced production which truly does deserve to be highly praised. Thank you all, and I am already looking forward to seeing whatever you have in store next!
Reviewer - Matthew Dougall
on - 26.11.21
If I am honest then I found the two male leads were overacting and trying to find comedy where there was none by shouting or posing a lot quiet unnecessarily. Whether this was directorial or not I couldn't say. It was obvious that both actors had the potential to create meaningful characters, but Charlemagne (Minh Ngo) in particular, was very OTT in his characterisation thus losing much of the nuances and subtleties of his character.
The chorus work was, generally, superb. They worked as a true ensemble, and the quality of their harmony singing was delightful. Some great characterisations emerging from them as recognisable individuals, and the choreography (Molly Henman) was creative and used the cast to their best advantages.
Directed by Jessica Bradley, this production of 'Pippin' was very much a traditional one, sticking very closely to the original ideas and overall design of the show. I acknowledge and applaud the inclusion of the so-called 'Manson Trio', and the use of the preferred 'Theo Ending'.. without it, the show feels somehow incomplete. However, I have no idea why the show started at 8pm. This was a little too late for a full 2,5 hour musical. I did like, however, the employing of a close-up magician to entertain small groups of audience members during the interval - a nice touch.
The costumes and make-up, again, in general, were very good and well thought-through, working well. It was the lighting this evening which I sadly found lacking. The use of gobos worked well, and generally, the ideas behind the lighting were sound; it was the actual execution of them that didn't work. Cast members were oftentimes in semi-darkness when performing or would move from semi-darkness into brightly lit without any reasoning behind it. The lights were also quite often performing a "disco routine" all of their own, meaning I was focusing on them when I should have had my focus on the actors. Odd.
Muscially the show was very secure, and a large band (hidden away in another room) under the direction of Sam Talbot-Williams sounded amazing. The sound levels coming through the mics being just about perfect.
'Pippin' was a highly enjoyable show; and even despite my above criticisms, a high energy, entertaining, and well produced production which truly does deserve to be highly praised. Thank you all, and I am already looking forward to seeing whatever you have in store next!
Reviewer - Matthew Dougall
on - 26.11.21
The pit band was not under the direction of Sam Talbot-Williams but David Wynn-Evans. This was clearly stated in the programme. Your articles really need better proofreading
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