On the Right Track

Pippin

A disoriented young man wanders onto the stage to a bed. He appears glassy-eyed and looks quite bewildered. Suddenly, from out of the mattress leaps the Leading Player, a supernatural-like sorcerous, colorfully decked out in black, red and silver. This mysterious, magical being encourages the youth, with a large bottle of pills in hand, to “Join us, leave your fields to flower; join us, leave your cheese to sour; Come and waste an hour or two.” Where, exactly is she luring this befuddled boy, and why? Is she tempting him with options for living or seducing him with a drug-induced escape from life through suicide?

Since Kyle A. Dougan took the reins as Producing Artistic Director in 2018, the productions at Music Theater Works have been interesting and uneven. Most have sported quite a different look and all of them have had a new energy. Obviously reflecting the personality of the artist, the musicals during the past five years have been much more inclusive and gender-fluid. However, Mr. Dougan’s fresh, contemporary approach to the classics is especially well-suited for a show like “Pippin.” I must confess that, as a musical theater fanatic, who grew up with the original 1972 Ben Vereen production, owned and watched the 1981 filmed production, thoroughly enjoyed the 2013 Broadway revival, as well as the subsequent National Touring version, and who played Charlemagne in a summer stock production, I was reluctant to see how this theatrical company would reinvent a show that’s very near and dear to me.

But I was pleasantly surprised. This 21st century retelling of Stephen Schwartz’s hit musical from the 1970’s is dynamic and exciting. There’s a lot of room for new interpretations within Roger O. Hirson’s book (with contributions by the original director, Bob Fosse) and Schwartz’s music and lyrics. Even the original production, as well as the Broadway revival took great liberties with a story loosely based upon some vague historical figure from the Middle Ages. Kyle Dougan’s production has bite and is filled with bombastic theatricality. They’ve transformed the ensemble of wandering players or circus performers, found in the two New York versions of the show, to something quite different. The cast seems like company of characters conjured by a confused young man’s confused mental state and all the drugs he’s taken.

For newbies to this musical, the plot centers around the adventures of Prince Pippin, the son of Charlemagne. He’s just returned to the court from his studies at university and, halfheartedly acknowledging his son’s academic achievement, the King quietly dismisses the youth. He tells Pippin to go read a book, or something. But Pippin wants much more from life than merely reading about it. He’s looking for his own “Corner of the Sky.” Like Princeton, another college graduate from a previous Music Theater Works’ production, “Avenue Q,” he’s desperately looking for his purpose.

Pippin, with help from the Leading Player, attempts to engage in a variety of activities that he thinks will be fulfilling. He pleads with Charlemagne to let him be a soldier, like his half-wit brother, Lewis, and help fight in the upcoming war. But everything about that experience either disappoints or repulses Pippin (“I thought there’d be more plumes”). He’s persuaded to explore some “Simple Joys,” celebrated by Berthe, his fun-loving Grandmother. The youthful elderly matriarch advises Pippin to live for today and to not “waste a drop of a precious year” in her raucous, show-stopping number, “No Time At All.” The Prince takes Berthe’s advice and frolics sexually nonstop. But when that leaves him feeling tired and empty he turns to religion, and then politics and current events. Suddenly Pippin realizes how unfair and brutal a ruler King Charlemagne really is, and he attempts to right this wrong by killing his father. Act I ends with the “Morning Glow”of promise, as a new day dawns on Pippin as the generous and just King. 

But when ruling the Holy Roman Empire proves too complicated and challenging for Pippin, he magically resurrects Charlemagne and flees the court. The Leading Player motivates Pippin to keep searching because he’s “On the Right Track.” His attempt to live among nature leaves the young man lying in the road, where Catherine, a young widow with a house and a son, discovers him. She takes Pippin in, nurses him back to health, and tries to get him involved in running the estate. However, Pippin thinks he’s “Extraordinary,” and far superior to these menial tasks. He leaves Catherine (“I Guess I’ll Miss the Man”), still disappointed that he still hasn’t found his perfect purpose in life, and runs into the Leading Player again. She earlier promised Pippin a spectacular ending and now he demands she keep her word. But the glorious grand finale she offers isn’t exactly what Pippin was hoping he’d find. 

The biggest problem with this musical is that, no matter how it’s presented, there’s no happy ending. And in Mr. Dougan’s concept of the story it’s even more profoundly depressing and tragic than the original. As an artist, Kyle Dougan is hoping to bring his own life experiences into this musical tale. He wants to make audiences reflect on what it means to lead a life well-lived. He asks us to consider in what ways we feel valued, loved and special. He questions what it means to be extraordinary. And the Director dedicates this story to anyone facing any degree of mental illness and who may have, perhaps, even considered taking their own life. This is a brave and bold interpretation of Stephen Schwartz’s musical that I strongly applaud. It’s not the “Pippin” I was hoping to see, but it works. It may baffle and even shock many audience members, but it’s as valid as any other version of the show.

The cast is as fresh and full of spunk and spirit as any production I’ve ever seen. The entire ensemble works tirelessly, seldom ever offstage and always involved in the story. The brilliant Sonia Goldberg, making her MTW debut, is magical and a little frightening as the Leading Player. Boyishly handsome and talented Connor Ripperger is also debuting in Chicago, as well as with this theater company. These two gifted and likable actors carry the show effortlessly.

Supporting cast members include the delightfully ditzy Kathleen Puls Andrade, as a particularly bawdy Berthe; Thomas M. Shea, practically a fixture at MTW, as well as many other theaters, as a Nathan Lane-like Charlemagne; gorgeous Savannah Sinclair, seductive, sensuous and shimmering as the King’s flirtatious new wife, Fastrada; Andrew Freeland as Pippin’s agile and arrogantly airhead brother, Lewis; lovely Desiree Gonzalez, a talented actress with a voice to match, as Catherine; and Di’Aire Wilson as Catherine’s young son, Theo. The twelve gifted members of the ensemble can’t be praised highly enough, and their singing/dancing skills and total commitment to this show makes this “Pippin” really work.

The production staff for this production is terrific. Justin Akira Kono’s not only the Music Director, but is also the drummer and conductor of his great-sounding, seven-member backstage band. The show’s nonstop stylized movement and chaotic choreography comes courtesy of Co-Choreographers, Mollyanne Nunn and Kaitlyn Pasquinelli, both also members of the ensemble. Amber Wuttke served as Intimacy and Fight Choreographer, and her talent is much appreciated. Shane Cinal’s impressively towering Scenic Design is multilevel and filled with hidden alcoves, doors and windows. It’s also comprised of several LED screens, on which are some fantastic Projections, beautifully designed by David Sajewich. Andrew Meyers has lit this entire extravaganza with sparkle and flair, while Designer Jazmin Aurora Medina, and her Assistant Kristin Brinati, have created some of the most colorful and creative Costumes ever seen on any stage. Their work is enhanced by Hair, Wig and Makeup Designer Alice Salazar and her Assistant Melanie Saso.

This is a very unique interpretation of one musical theater’s classics. In some ways, this reimagined “Pippin” may stand as one of Music Theater Works’ finest productions because of how Kyle Dougan has updated the entire musical. He’s incorporated some personal experiences into it and made the story feel contemporary. Kyle’s also fashioned a cautionary tale by reshaping it for today’s audiences. The show overflows with great music, exciting spectacle and plenty of sensuality, making this a musical designed for adult theatergoers. A word of caution, however: try to avoid sitting in the far left and right sections of the audience because the view is often obstructed. But, with this musical production, I’d say that Music Theater Works is definitely “On the Right Track.”                        

Highly Recommended

Reviewed by Colin Douglas

Presented June 1-25 by Music Theater Works at the North Shore Center for the Performing Arts, 9501 N. Skokie Blvd., Skokie, IL.

Tickets are available at the theater box office, or by going to www.MusicTheaterWorks.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.