This Stephen Schwartz show came just one year after his debut hit Godspell. That was 45 years ago. It took another thirty years for his mega-hit Wicked. Pippin hasn’t been revived very often, but it was a big hit again on Broadway in 2013. The last time we saw it here was six years ago, in a misguided production at the Menier Chocolate Factory (https://garethjames.wordpress.com/2012/01/06/pippin). This new production has come from the new Northern musicals powerhouse in Manchester, Hope Mill. I’m not sure I’ve ever been so impressed by a production of a musical I’m so unimpressed by.
Pippin is the son of the 9th century Holy Roman Emperor Charlemagne. We follow him from graduation, as he tries to make his way in the world, through war, sex, rebellion, politics and ordinary life. I’m afraid I find it impossible to relate to the story and the music is undistinguished bland pop to my ears, though its fair to say it was so well sung and played here, I warmed to the score.
When it comes to the production, it’s hugely impressive, with Jonathan O’Boyle’s staging, William Whelton’s choreography, Maeve Black’s design, Aaron J Dootson’s lighting and James Nicholson’s sound all outstanding. The cast is hugely talented, not a weak link amongst them. Newcomer Jonathan Charlton is a very likeable Pippin, Genevieve Nicole is a charismatic presence as the Lead Player, the narrator, and there’s a great doubling-up by Mairi Barclay as Charlemagne’s second wife Fastrada and mother Berthe. The eight-piece band under MD Zach Flis sounded great.
I can’t imagine a better production, so I have to warmly recommend it, whatever I think of the material. As for Hope Mill, more please!
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