Stephen Schwartz’s first signature work relives on the West End stage for two nights only, in this celebration concert honouring its 50 years of history – featuring some of the most acclaimed talent in the industry. Guillermo Nazara shares his views on the performance, to let us know if this ambitious tribute to the show’s legacy was actually on the right track.
We’ve got magic to do, magic to play, just for you… It’s funny how vividly such simple words can however depict that strange rush of excitement any Broadway kid (or West End, if that’s closer) is suddenly stricken by when they realize what they want to do. A show within a show is no stranger to either the musical or straight play vault, but there’s truly something special about Pippin. Maybe it’s the appeal of its songs, or the freshness of its young vision, or just perhaps the fact that it was written by someone as passionate about the artform as any of its hardcore fans.
But the piece genuinely builds a one-of-the-kind connection with its viewers from its very start. You may bump into it for the first time (to be honest, apart from a few songs and knowing its premise, that was my case too last night). And yet, it will feel as right the opposite. As if, in some strange, unexplainable manner, it has always been a part of you – like a fond memory safely kept somewhere in the back on our minds, bringing back the most gentle emotions every moment we reunite with it. In other words, casting the spell its opening number promises to deliver.
Last night, London’s West End raised its curtain to a celebration of old-time Frankish Americana. Stephen Schwartz’s debut musical, and worldwide audience fave, Pippin, returned to the city’s theatreland in a once-in-a-lifetime concert paying homage to the work’s 50 years of existence (52, in reality, but all our plans have been halted for a couple of years – let’s just not remember that period…). A lush display of A-list talent restoring the myth of the rebel prince, the montage was, in all fairness, more than a swank tribute to its legendary repertoire – but a proper a extravaganza in its own right, boosting the zazz, charm and sparkle that concocts its essence, and devising an extraordinary theatrical experience projecting the same infectious idealism and novel enchantment of its source material.
Directed by Jonathan O’Boyle, the production rapidly manages to envelop us within its glittering universe despite its rather austere (yet, rather adequate) staging. Preserving the basis of its first predecessor (you shall see a lot of Bob Fosse’s signature “jazz-hands” quivers in Joanna Goodwin’s reenvision), his approach presented us with a most compelling set of visuals, provided through its electrifying choreography, well-executed (and occasionally, surprising) blocking and detailed lighting design (the latter, credit to Jamie Platt) – all in all, heightening the histrionic allure of the piece, and regaling us with a bombastic rendition defined by the thrills and chills that should always be synonym to any West End performance (I can’t emphasize that last statement enough).
Featuring an unending collection of insanely memorable tunes, containing the usual MT-fied popular music style themes that construe Schwartz’s trademark sound, the show is a continuous spiral of beguilement – carried out by the rich variety of its numbers, intuitively profound lyrics and cunning book. An interesting reflection on the integral topics that form our spiritual journey regardless of our background, the piece manages to weave an intricate pattern of layers, combining the amusement of its overall tone with some reasonably deep observations about human existence and the priorities in life – paving the way for what would become the author’s principal driving force in his later creations.
Counting on a 47-member choir and a full-piece orchestra, the sumptuous power of Schwartz’s melodious music is beautifully revered (and even, elevated) through Simon Nathan’s colourful arrangements and Chris Ma’s pristine conducting – giving vibrancy, flair and sentiment to every passage. That’s only enhanced by the lead portrayals coming from its main cast, in what’s arguably the best concert version of a show the 2023/2024 season has offered so far. Except for some very minor glitches in a couple of vocals, the renditions are refreshingly unblemished, something that too many precursors (even one would be excessive) have miserably failed to secure.
Going through the main parts, Jac Yarrow gives a rather charismatic performance in the title role, endowing his personage with inviting appeal and attitude. In addition, Cedric Neal makes an enduring appearance as King Charlemagne thanks to his magnetic presence and exhilarating comicality, also shared by Zizi Strallen’s portrayal of the manipulative gold-digger wife Fastrada – giving a marvelous rendition that excels through her spotless singing and tireless vitality. At the same time, Patricia Hodge exudes both grace and poignancy through her much elegant and witty (thus, even more hilarious) interpretation as Grandma Berthe. Nonetheless, the highest praise is undoubtedly earned by Alex Newell as The Leading Player, proving her star-quality capability as both Emcee and vocalist through an intensely demanding part carried out with remarkable ease.
A classic of classics when it comes to American musical theatre, Pippin is a chest of hopes, memories and aspirations for anyone and anything related to its genre. It has the nostalgic pizzazz of its own culture, based upon the core values of a craftsmanship which we no longer to see that clearly in many new works anymore. It bites us with its own unique theatre bug by streaming spectacle out of spectacle. And it gives us a most heartening, stirring and uplifting lesson about both what art and our personal paths are all about. Though working better as straight-through narrative (breaking the recount into two acts compromises the effectiveness of its story arc), both piece and version are, safe to say, a top-notch example of skill, endeavour and poignancy. They chanted about a corner of the sky, but they gave us a piece of heaven instead.
All pictures credit to Pamela Raith.
Pippin In Concert plays at London’s Theatre Royal Drury Lane until 30 April. Tickets are available on the following link.