Sci-fi shows are scarce; ‘Starlight Express `and ‘Time` were very much part of 1980’s mulleted futurism. Medieval musicals are also rare; ’Camelot ‘and ‘Blondel` are unusual examples of a little knight music. Now the Menier attempts to fuse these two conflicting genres into a contemporary re-conceptualising of ‘Pippin`, Stephen Schwartz‘s hip hit show.
The show was originated on Broadway in 1972 by the god-like genius Bob fosse, as a follow up to Schwartz’s groundbreaking ‘Godspell` , a hippy retelling of the life of Christ. ‘Pippin` is another radical allegory about an innocent 9th century French prince, who rejects his warmongering father’s royal life, to go in search of meaning and truth. Director/Choreographer Mitch Sebastian has ambitiously envisaged this journey as a series of levels in a platform computer game which our hero enters, after being transported there by a mysterious Machiavellian ring master, played perfectly by a menacing Matt Rawle.
As the opening song ‘ Magic to do ` commences, the cast magically step through the walls of the space age interior brilliantly created by designer Timothy Bird incorporating a mass of Tron-like projections, in perfect synchronicity with the choreographed performances. Harry Hepple’s Pippin, begins his quest on level 1, battling his way through a ‘barbarous and bloody` war, feuding with his father, scheming with his mother and enjoying the pleasures of sexual initiation during an orgy of fantastic Fosse inspired erotica. Finally falling in love and discovering what it means to be alive. The songs punctuating the story are amongst Schwartz’s finest, exhilaratingly performed by the strong cast, most notably ‘Spread a little Sunshine’ sung by the fabulous Frances Ruffelle, brilliantly playing Pippin`s mother as a devious Dagenham Dame. Sweet young Carly Bawden, fresh from the underrated ‘Umbrellas of Cherbourg`, is funny and enchanting as his lover, singing the heartbreaking ‘I’ll guess I’ll miss the man` beautifully.
Although there are many highlights, I feel the complexity of the concept confuses the simplicity of the story, the platform levels as stages in Pippin’s life story are appropriate in Act 1, but during the romantic relationship development of Act 2, they seem incongruous. That said, the Fosse-que choreography is fun, the visuals inventive and the sweet soulful score, though occasionally overwhelmed by the loud rock accompaniment, is still a memorable treat. I doubt this will follow in the footsteps of other classic Menier musical productions and make a west end transition, which is unfortunate, as I prefer it to Schwartz’s recent huge success ’Wicked`
This has inspired me to think of another show that may be suitable for reworking as a computer game adventure. Surely ‘The Wizard of Oz` could be re-conceptualised, transporting teenager Dorothy from her Midwest bedroom console in to a trippy Technicolor world of talking animals, heartless androids and mutant munchkins, then in true Lara Croft style, battling flying monkeys and an evil witch in her quest to escape. Like a cyber version of ‘The Wiz`. Could be good…Could be terrible!!
Martin Green
