The last time this show was on Broadway was 1977 -- it played from October 1972-June 1977. And let's be honest, this show is definitely straight out of the 70's. Luckily Paulus set out to salvage it's reputation of being outdated because the production currently playing at A.R.T. is anything but outdated.
I'm a big believer in this show. I've seen a really good community theater production, have seen a couple not-so-good amateur productions, and was in it in high school. So I know the show really well. And I think it can be done well or it can be horribly (that pretty much goes for everything though). It's just that with Pippin, the director either gets it or doesn't and it's obvious when the director doesn't get it. It's a complicated story with lots of little things going on, and it's the director's job to catch those things. Like the incest, for example. This is a tiny subplot that can either be played on or not. Or using Catherine as a clown in the first act. Sometimes she is not in the first act at all, other times she is there but the audience doesn't understand the significance of her presence until after intermission. There's a lot to it.
And Paulus did it right. It was clear the from the start that she understood the show and wanted to make it really special. And special it was. From the moment the orchestra began playing the first few notes of "Magic To Do" the audience was engaged. It's one of those shows that people know from their childhood and has memorable songs that are played over and over even if the person playing the song doesn't realize where it came from.
The only thing that wasn't there was the incest. I mean, it was there but extremely subtle, and only there because it's in the script. The "love" Fastrada has for Lewis, her son, is obvious from the way she treats him, but Lewis was not seen with Fastrada during her big number ("Spread a Little Sunshine"), which is where most of the obvious aspects of their relationship would play out.
In terms of acting, everyone was strong. Patina Miller as Leading Player was out of this world, and I had absolutely no qualms about a female Leading Player. She was just evil enough, and was always lurking. She did a lot with her eyes and it really came across. Matthew James Thomas was born to play Pippin. He played Spiderman on Broadway in the past few years and the weird thing was that his voice was eerily similar to Reeve Carney's, so at times I felt like I was watching Spiderman. But honestly he was superb and extremely charismatic, just as Pippin should be. He made the audience care and that's ultimately what needs to happen to make the ending so emotional. Terrence Mann was the perfect Charlemagne and it was really cool to see him onstage, because he's one of those performers you know about but haven't seen (or at least for me). It was the first time I'd seen Charlemagne feel like a lead role and he added so much to the part. Fastrada was a weak singer, but she fit the role. Lewis didn't sing at all until the "Finale" and he had a great voice. I stand by my opinion that his character was not used enough. Catherine was cute and lovable and her voice was wonderful. And the ensemble/acrobats were amazing. Totally outrageous.
This is one show I will be sure to see in New York in the coming months. Go see it. The world is ready for a Pippin revival.
Favorite songs:
Magic to Do
Morning Glow
Finale
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