Cast reinvents timeless “˜Pippin’

The story of a young prince trying to find the meaning of life
may seem like a fairly typical theme in musical theater, but Marcia
Seligson, producing artistic director of REPRISE! Broadway’s
Best, and a seasoned team of musicians and actors bring the old
story into a new light in their production of “Pippin”
at UCLA’s Freud Playhouse, which runs through Feb. 6.

Lead actor Michael Arden does a good job portraying both
Pippin’s initial innocence and eventual corruption, and he is
supported by a few key actors who make the production truly
unique.

Among these is the character of Louis, Pippin’s younger,
stronger and suspiciously metrosexual stepbrother, played by Abe
Sylvia. Sylvia’s dramatic poses and amusing accent help to
add some real laughs to the otherwise cheesy comedic moments.

Another saving grace, the character of Berthe, played by Mimi
Hines, provides one of the play’s most powerful moments in
her performance of the song “No Time at All.” The scene
allows the actress to show off an amazing voice range and even
includes an audience sing-along.

The production is well done, complete with a live on-stage band
and great choreography originally done by Bob Fosse.

Unfortunately, the production does have a few setbacks. A few
technical audio difficulties made it difficult to hear at times.
Important opening and climactic lines were lost a few too many
times.

Over-the-top sappy moments of self-discovery sometimes create
awkward moments on stage. The relentless character of the
narrator/director/magician of the story, played by Sam Harris,
somehow lacked the puckish charisma necessary to pull off such a
role. While he begins as quirky and intriguing, Harris’
character quickly becomes exhausting as his constant interruptions
make him more of the main focus than Pippin.

The story itself is not as predictable as it could be, which can
either be confusing or interesting to different audiences. This
particular production chooses to handle the story in a very
dramatic fashion, and while the ending is obviously important, it
comes across as a little heavy-handed for such a lighthearted show.
The show also takes many artistic liberties with the script,
particularly in its emphasis on sexual innuendoes. Although certain
scenes are clearly meant for an older audience, they seem a little
out of place in an otherwise family-focused show.

The show aims to avoid dating itself by referring to specific
time periods, so while the play is supposed to take place in
wartime Rome, the producers seek to prove that “Pippin”
is timeless. In the end, “Pippin” tells a universal
story about finding meaning in one’s life, and as Pippin
endures trials and tribulations, audiences can connect to a loss of
childhood idealism and a slow maturing process.

The show’s theme of magic and mystery will draw in musical
lovers who will be impressed by new adaptations of great
choreography and songs. Strong leads and a good sense of humor make
this play enjoyable and fresh despite its shortcomings.

-Alexis Matsui