Music Box Theatre
Sunday, June 2, 3PM
I don't know what they're pumping into the vents at the Music Box Theatre, but from the audience reaction to the opening chords of "Magic To Do" you'd think we were at a monster truck rally in some swampy backwater town in Louisiana. I know there's been lots of hype, and rightly so, surrounding Diane Paulus' circus-themed revival of the psychedelic 70s tuner. But this afternoon's audience was whooping and hollering at a black curtain. Or more likely, at $130 a ticket people have decided that they WILL have a good time in the theatre, no matter what, dammit!
With only a week until the Tonys and the show getting prime time play on every major talk show (it seems you can't change the channel without seeing Patina Miller's maniacal, toothy grin), I was frankly shocked to see the show available on TKTS, though only at 30% off (check out the nifty official smartphone app that shows real-time ticket availability). So much for the days of "half-priced" tickets at the booth. With a gift certificate from one of Trish's students subsidizing our little field trip, the price for two seats was almost affordable.
Pippin has never been a favorite show of mine. It's got a solid score with a couple of great Stephen Schwartz tunes but the clunky book is dated and gives off a kitschy 70s vibe that I'm sure can be traced to the consumption of too many mind-altering substances. What made the original Pippin special was the iconic performance of Ben Vereen as the leading player and the genius of Bob Fosse's direction and choreography (both of which have luckily been captured on video).
Thankfully, Diane Paulus' newly re-imagined production breathes some new life into this 70s relic. The circus theme is a perfect backdrop for Pippin's episodic book and for Patina Miller's demented ringmaster-on-crack leading player.
The acrobatic and aerial work by Gypsy Snyder of Canadian circus troupe Les 8 doigts de la main keeps the stage in constant motion, adding an energy and momentum that is missing in the writing. It also doesn't hurt to have the buff cast contort, leap and dance in an eye-popping array of flesh revealing costumes.
Broadway stalwart Terrence Mann adds a humanity, depth and humor to Charles, a character that usually comes off as a one dimensional cartoon. Charlotte D'Amboise gives a solid, if workmanlike reading of the sexy Fastrada. Andrea Martin (Berthe) practically steals (and stops) the show with her single, acrobatic scene. I won't give spoilers, but Ms. Martin's performance will inspire grannies everywhere to start hitting the gym.
Matthew James Thomas is an endearing Pippin with a lovely six pack (for those who care). He lends the perfect balance of charm and innocence to a character that can often come off as a cipher. His pretty pop tenor voice is perfect for the folksy score but he's got to watch the growling in his middle register or he won't have that pretty voice for long. And did I mention his six pack?
I have mixed feelings about Patina Miller's leading player. To say her performance is intense is like saying Michele Bachmann is quirky. Subtle, Ms. Miller is not. But it's clearly the choice she (and no doubt Paulus) has made for the character and Miller commits to it with an unbridled ferocity. I don't necessarily agree with the choice, but I do respect the execution. And besides, ain't nobody gonna' mess with Patina. Have you seen those biceps?
Chet Walker's choreography "in the style of Fosse" is by definition derivative. But at least it's derivative of genius. It doesn't re-invent Fosse as much as point out the current dearth of originality and artistry found on Broadway stages today. Don't get me wrong, I don't think there's a lack of talent, only a lack of producers willing to take a chance on an unknown commodity. Sigh.
Regardless, you should catch the revival now with the original cast. I can definitely see how this production, which relies heavily on the quirkiness and individuality of each cast member, may suffer once replacements start filtering into the production.
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