Fun fact. I went into Music Theater Works’ production of Pippin knowing the songs, knowing the show, and knowing I’d have a good time. But afterwards, I learned from my daughter, herself a current member of Scotch’n’Soda Theatre, Carnegie Mellon University’s student theater troupe, that the beloved musical didn’t just appear out of thin air, manufactured by the Broadway gods and bestowed upon us earthly theatergoers.
But Pippin didn’t just appear magically like all the good shows seem to have done. It was originally written by Stephen Schwartz as a student show for Scotch’n’Soda Theatre before its first Broadway run, directed by the great Bob Fosse. Knowing that now, the show’s youthful exuberance and dated innocence makes sense. Of course it was written by a kid, albeit a very talented kid.
Knowing that, the show means that much more—the story of a talented kid figuring out life and yearning for something, written by a kid like that. And knowing that, it’s fitting that my favorite part of this fine production of Pippin, directed by Kyle A. Dougan at the North Shore Center for the Performing Arts, was its young and talented and eager and enthusiastic ensemble. Seriously, the ensemble works (and sings and dances and acts) their tails off.
Choreographed by Mollyanne Nunn and Kaitlyn Pasquinelli, both ensemble members as well, there is always something fascinating going on across the stage; I never knew quite where to look because there was always someone stunning me with a dance move or making me laugh with a random bit of incidental tomfoolery. The scenic design by Shane Cinal and the costumes by Jazmin Aurora Medina only furthered the youthful feel, for me especially, as the themes and color palette and props all screamed 80s and 90s. And said costumes and props were put to good use by the cast, with Ciara Hickey and Jordan Ordonez two standouts, the latter joining Lacey Jack and Sonia Goldberg’s Leading Player for the dance scene in “Glory.”
Goldberg starred last year in Theo Ubique’s Once Upon a Mattress, and again takes center stage in the role of Leading Player, originated by Ben Vereen, leading the production throughout. Goldberg also leads youthful and yearning Pippin through the show’s story, for this production played by Connor Ripperger. Both Ripperger and Goldberg have phenomenal vocal skills, and show them off throughout. Their talents are matched by the rest of the main cast, including a hilarious (and hilariously costumed) Thomas M. Shea as Pippin’s royal father, King Charlemagne, Andrew Freeland as Lewis, Desiree Gonzalez as Catherine, and Di’Aire Wilson as Theo. The two women competing in the king’s life are wonderful; Kathleen Puls Andrade’s Berthe kills “No Time at All” (helped out, of course, by the audience on the choruses) and Savannah Sinclair flashes her dancing skills as Fastrada.
But again, this production is most enjoyable as a whole—because of all the talent onstage, because of all the enthusiasm shown by every single member of the cast, and because of all the hard work that has obviously been put into the show by everyone involved with Music Theater Works. I’d be remiss if I didn’t mention the orchestra, conducted by Justin Akira Kono. Kono leads the strings, horns, and trumpets through the show’s beloved soundtrack, and gives it a real Broadway feel. Because yes, this might be a show about youthful angst, written by a college kid for a college theater, but it’s also a beloved Broadway classic, jam-packed with beloved standards. And from now through June 25, you can see the cast and crew of Music Theater Works give it their all in Pippin at the North Shore Center for the Performing Arts in Skokie.
