Eight Reasons to See Pippin on Broadway

Diane Paulus’ Broadway-bound production of Pippin concludes its run at the American Repertory Theatre (A.R.T.) in Cambridge, MA on January 20, but the production won’t be idle for long!  Pippin will start Broadway previews on March 23 at the Music Box Theatre. 

Synopsis: The play begins with the introduction of an ensemble of actors and a Leading Player, who reveals to the audience that they are about to relay the story of a young man named Pippin who is searching for meaning and purpose in life. A recent college graduate, Prince Pippin returns home to his father and stepmother, King Charlamagne and Fastrada, and begins his pursuit of the “fulfilled” life. During this personal quest, Pippin seeks the advice of many, including his father, stepmother, his grandmother Berthe, and the Leading Player, all of whom compel Pippin to undertake many roles, most notably, a soldier, a monk, a murderer, a king, and a lover, none of which fulfill him.  Alone and desperate, he encounters an ordinary woman named Catherine, a widow, and her son Theo, and senses what it means to be fulfilled. Pressured by the Leading Player to perform the most incredible act- the Finale, Pippin leaves Catherine and this ordinary life behind. Ultimately, Pippin must choose between performing an extraordinary, but dangerous feat and living an ordinary, but fulfilling life. 

Eight Reasons to See Pippin on Broadway

1.) It’s a circus!! Director Diane Paulus employed the talents of circus choreographer, Gypsy Snider of Les 7 Doigts de la Main, in creating some of the most exhilarating stunts to ever be performed in a musical!  Further, the choreography, created by Chet Walker in the style of original director/choreographer Bob Fosse, is incorporated strategically into the story in a very theatrical fashion and in a way that propels the story forward. The utilization of a circus theme and daring choreography enhances the element of danger that is a major theme in the story. 

2.) It’s the first Broadway revival of a “gem”. In fact, I wonder why this underrated, overlooked show has not been revived sooner. The original Broadway production ran from 1972-1977. 

3.) Stephen Schwartz of Godspell and Wicked fame composed the score, so it’s no surprise that the music is great. Personally, I loved the opening number (“Magic to Do”) because it sets the mood for the show and immediately pulls the audience into the story.  The score is light, upbeat, and harmonious, which directly contradicts the story’s underlying darkness.  

4.) Patina Miller as the Leading Player gave a mysterious and calculating performance. In Pippin, she shows her versatility as an actress, and while we all loved her Tony-nominated performance as Deloris Van Cartier in Sister Act, she really proves that she won’t be typecast as the funny, sassy leading lady.  And that voice...

(Sidenote: The Broadway cast of Pippin has not been announced)

5.) The set, a giant tent, and the lighting are captivating and magical. 

6.) The audience gets the chance to sing with the incomparable Andrea Martin while watching her hang upside down from a trapeze. Now that doesn’t happen every day. The scene between Berthe and Pippin is one of the great comedic moments of the show and is not to be missed. 

7.) On the surface, Pippin appears to be a light-hearted story about a young man in search of himself, yet there is far more depth and meaning to this story than initially expected. For the purposes of this blog, it is not my intent to analyze Pippin; however, I can promise that this show will make you think. How many musicals can do that? 

8.) Last, but not least- a sweet little dog makes an appearance! 

I hope the above eight reasons will encourage you to check out Pippin on Broadway, which opens in previews on March 23, 2013 at the Music Box Theatre! 

The Gershwins' Porgy and Bess

Broadway

Richard Rodgers Theatre

Background: Prior to August, 2011, my sole experience of the American folk opera, Porgy and Bess, included a medley of its selections performed by my middle school concert band. At the ripe age of twelve, I would have rather been playing selections from Rent or something less “dated” in my mind, and so the music of Porgy and Bess faded away from my memory until last summer, when it was announced that a new production of The Gershwins’ Porgy and Bess to be directed by Diane Paulus would be playing at the American Repertory Theatre (ART) in Cambridge, MA. Needless to say, I decided it was time for my more cultured adult self to give Porgy and Bess another chance.  I thoroughly enjoyed this cast. Now that they have transferred to Broadway and won a Tony Award for Best Revival, I decided to pay a second visit to Porgy and Bess on the Great White Way.  

Synopsis and History: Porgy and Bess tells the love story of Porgy, a poor, lame, black man living in the destitute community of Catfish Row in Charleston, NC in the 1930’s, and Bess, a flawed and conflicted black woman living in the clutches of her jealous and possessive lover, Crown, and her drug dealer, Sportin’ Life. Despite his physical limitations, Porgy attempts to offer Bess a new life free from Crown and “happy dust”. 

Porgy and Bess is based on the play, Porgy, which is based on DuBose Heyward’s novel of the same name.  After opening at the Colonial Theatre on September 30, 1935, the production transferred to Broadway’s Alvin Theatre on October 10th of the same year, where it ran for 124 performances before beginning a four-city tour.  A talented cast of trained opera singers arrived in Washington DC’s National Theatre only to discover that the theatre did not allow black patrons. The cast refused to perform under such circumstances, which ultimately led to the National Theatre’s desegregation, a milestone at the time. The opera spurred controversy among some African-Americans, who viewed it as a racial stereotype. When the opera opened, many felt that African-Americans were portrayed as violent, uneducated, indigent drug-seekers, which would further validate the stereotype at that time. The Broadway playbill gives a brief, but insightful synopsis of the opera’s history and significance, which I found to be very helpful in understanding the plot.

The Gershwins’ Porgy and Bess has been revised, cut down from its original four-hour duration, and “modernized” by director Diane Paulus, which has also been controversial to some, most notably, Stephen Sondheim. 

Comments: The Gershwins' Porgy and Bess showcases an extremely talented cast at their best. Five-time Tony Award winner Audra McDonald gives a heart-wrenching performance as Bess. Playing Bess eight times per week must be exhausting, but she does it flawlessly. Norm Lewis gave a Tony-worthy performance as the naive, but beloved Porgy, portraying the character’s journey as a victim protected by his neighbors who evolves into a man of great strength. Norm Lewis was the stand-out performer in Porgy and Bess and one of my biggest reasons for seeing the show twice. David Alan Grier is oddly endearing as Bess’ drug dealer Sportin’ Life.  He’s so bad, but you just can’t hate him- maybe because his character provides moments of comic relief in the midst of turmoil and tragedy. I especially appreciated the funny exchanges between him and matriarch Natasha Yvette Williams (Mariah). Phillip Boykin was terrifying as Crown, as he should be.  Nikki Renee Daniels (Clara) and Joshua Henry (Jake) stood out vocally with their performances of “Summertime” and “A Woman Is A Sometime Thing” respectively.  Bryonha Marie Parham’s performance of “My Man’s Gone Now” is theatre at its finest. 

Many critics have argued that Diane Paulus’ revised version of Porgy and Bess has stripped the opera of its essence. Without having seen other productions, I am not able to comment on this belief. What I can tell you is that The Gershwins’ Porgy and Bess offers a powerful score with elements of folk, jazz, spirituals, and blues, enjoyable choreography, and a well-constructed plot, which has been further clarified since ART. In the era of Wicked, Rent, and The Book of Mormon, a four-hour opera with three intermissions may not be appealing to the younger generation of theatre-goers. Diane Paulus’ revisions certainly render the opera more accessible and appealing to that generation, and if this was her goal, then job well done. Regardless of interpretation, Porgy and Bess can forever be appreciated for its preservation of American history and its indelible role in civil rights.