Not often performed, this Stephen Schwartz Musical from the early 1970s can oftentimes seem a little dated these days. Telling the story (based on fact but hugely fictionalised) of the Emperor Charlemagne's younger son, Pippin (or Pepin - the usual spelling), and his search for a meaning to his (extra)ordinary life.
Despite being presented at Salford university's New Adelphi Theatre, this was the final graduation production by the third year students on the Musical Theatre degree course at Manchester's Arden Theatre School.
I have seen this musical presented in various ways over the years, but never in the way these students 'strutted their stuff' this afternoon under Emma Norman's direction. The premise of the storyline does make it easy for directors to put their own stamp on the show, as we see a group of travelling players gather an audience as they perform their story... that of Pippin. And as such, previous incarnations have included a circus tent and clowns, marionettes in an End-Of-Pier show, children's toys in a Jack-In-The-Box, as well as companies trying to authentically create the correct historical milieu of medieval itinerant thespians. This afternoon however, we were shown a large modern archway and platforms created from scaffolding, whilst a red velvet curtain at the rear of this arch separated the band from the rest of the stage. In this all-female version, we were presented with cardboard cut-out mono-dimensional characters whom we were unable to sympathise with and we did not care about their journey or story at all.
Two large flight cases were used vagariously throughout, which, along with the scaffolding, didn't match the costuming of the show.- which was even stranger. All the cast wore sexy black lingerie - in the style one would expect to see in the show 'Chicago' - and then put quasi-medieval garb over the top of this for the characters they were playing, whilst they remained in just the underwear for chorus etc. I appreciate that Bob Fosse was the original director of Pippin on Broadway, so maybe this was Norman's 'hat nod' to this?!
The sound levels were slightly too loud throughout but the band, under the direction of Robert Purvis, sounded absolutely wonderful creating the perfect sound and style.
The Leading Player (Belle Mayger) was dressed in a contemporary black and sparkly trouser suit, and invited us to join them and share an hour or two in their company. A very confident and strong performer, who, at times became a little shouty and irritating in this particular role. Kimberley King as Pippin was far more plaintive and at times bordering on bland and unmoving, but a pleasing actress, and easy to watch. Cartoon caricatures of the Emperor Charlemagne (Alix Hushin), and son Lewis (Saffi Rhodes) made it hard to like either. Emily Kelly as Catherine was far more successful as a truthful and believable mother and lover.
The characterisations and interpretations given them by Norman sadly, for this reviewer at least, left me cold, and found the strange juxtapositions of era and style clashed rather than married. This was such a shame, since the 20 actresses involved in this show were all obviously very talented, and under different circumstances would undoubtedly have impressed more.
Reviewer - Matthew Dougall
on - 26.5.23
on - 26.5.23
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