Pippin Reviews! — Page 5

"...the wildly charismatic Patina Miller suddenly appears through the fold in the curtain and we are off and running into a fantastic journey that is magical, mesmerizing, and miraculous—a sure-fire hit of enormous proportions seals this new Pippin as a masterpiece of musical theatre."

"...Diane Paulus’ daringly original and fresh new vision..."

"Matthew James Thomas magnificently inhabits the role of Pippin with his strong determination to find meaning in life. Mr. Thomas exudes strength, joy, and a bittersweet essence that makes us fall in love with him...I predict a stellar career for this rising young star. His “Corner of the Sky” is splendid. His “Love Song” duet with Catherine is charmingly touching, accompanied by his excellent guitar playing."

"Run, do not walk, to get your tickets to experience this masterpiece of musical theatre which should win the Tony Award for Best Revival of a Musical this year."


Why Broadway’s Breathtakingly Magnificent PIPPIN Will Win the Tony for Best Revival of a Musical

Brantley doesn't have power over the Tony voters. When are people going to learn that?

Brantley seems to have gone out of his way to dish other musicals this season. I suspect, however, that the reason the he is so OVERWHELMINGLY protective of Matilda is that he's lost all sense of proporation because of his review last summer. I have not seen Matilda, but this is one time that the NYT's obnoxious behavior has deterred me from even attempting to see the show. Plus, many individuals to whom I've spoken (including some professionals within the business) said they found Matilda boring, with a substandard score, as is evidenced by the TV commercial.

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Updated On: 4/26/13 at 09:33 AM

I attended opening night and party with Snafu (thank you Snafu!). I also agree with many of the points he already discussed even with the OMG Andrea Martin so so sexy that we'd have to switch teams!

I also attended the ART production several weeks ago. Saw the changes some for the better and some not...in no particular order:

- Charlotte d'Amboise: at ART I completely disliked her as Fastrada but now I believe she has fallen into the role and made it her own. I was pleasantly surprised that I have changed my opinion of her.

- Matthew james Thomas: at ART I enjoyed his performance as Pippin. Thought he was believable in the role and pulled off not only the singing but dancing as well. Although I was blown away even more at the opening by his incredible dance routine with Patina in the second act I was as equally unimpressed in his vocal ability now. Since the transfer he has lost something in his delivery and believability.

- Erik Altemus: stunning. I am seriously excited to have him on my list of performers to keep an eye on in future roles. I think he is a new up and coming male lead and I would absolutely love to see him in the role of Pippin. Spoke to him at the cast party - dynamic personality mentioned to me that he has "yet to feel like he is at work." Loved hearing that he is enjoying this and is shows in his performance.

- Andrea Martin: does anything need to even be said - this woman is a knockout in all ways - timing, singing, performance, attitude, emotion...she gave me not only one of the wow moments of the night but also one of the choke back tear moments at the end of her number. That takes true talent to be able to switch you from laughter to tears within moments.

- Patina Miller: I really like her as the lead player. I've been listening to Ben Vereen on the CD and watching the DVD for over 20 years. I do not have any troubles with seeing her in this role. I like her take on it, her attitude, etc

- Stephanie Pope: love her sultry expressions on her face and the seductive moves she projects from the stage.

- Anthony Wayne, Lolita Costet, Yannick Thomas are also performers who I found myself tending to watch each time they came on stage.

I agree that the circus elements at times can be a real distraction but if it makes sense I really enjoyed it being incorporated into the Fosse choreography too!

I felt like "Glory" was stepped up big time from ART. The energy was much more palpable but the addition of the barn yard animals for "Extraordinary" was too distracting. I did not think the audience should be distracted or amused by 2 chickens clucking. All the animal costumes just over complicated that scene for me.

Most important change for me was The Finale. YES it worked! ART projected fire on a mist of water...was not scary or impressive. Immediately thought of the mist they spray over walkways in amusement parks encouraging you to walk through it. Now...the fire and the location of Pippin (not giving it away) make it all the more impressive. Very happy with that.

Going in I was expecting more than I came out with. Thought Pippin would be a sure thing but question that a bit now in part because of the second act. First act was a train on full speed that slowed down significantly probably I could relate this to what happens with Into the Woods.

Pippin will have a decent life due to many things: great cast, good music, interesting choreography old/new, entertaining for young/old with various levels of intellectual depth if you wnt to enjoy it for the singing/dancing or if you want to dive into the Pippin's quest for meaning, plus a smaller house that can be more easily filled...

Very interested to see what awards are in store for all.

I'm happy Pippin is back - Viva Pippin.

Brantley has NO POWER when it comes to the Tonys. His review will affect nothing.

Word of Mouth liked it

http://www.broadway.com/videos/series/word-of-mouth-reviews/

Though these three were tough to listen to.

I thought this season really exposed the weakness of Isherwood and Brantley as critics, over all.

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It's time for the New York Times to really take a close look at Brantley and Isherwood.

They seem to enjoy being contrarian. They are in love with their own power and loving their witty bitchiness. Now I realize that when you see so much theatre you can get burnt out and it's hard to like something--hell put me in that category (didn't care for Annnie revival, Cinderella revival, Peter and the Starcatcher, Motown or Assembled Parties) but when you don't like something as glaringly wonderful, spectacular and improved as the revival of Pippin-- something is wrong and it time to reevaluate.

Brantley contradicts himself. He says the musical Pippin is saying "love me love me love me" than bashes Patina Miller because she is not lovable or welcoming. Huh? He also seems to be in love with the memory of Pippin that he saw from his teens. I saw that Pippin. This is an improvement!

Off with their jobs!

Updated On: 4/26/13 at 10:37 AM

Honestly, Brantley’s review is a bit muddled for me. As a reader who has yet to see the show, instead of taking away a sense of this production of “Pippin” or, even, how he felt about it, the one thing I took away was what Fosse added to the original production. The first half almost read like an article as opposed to an opinion piece. I can’t help but feel that it was, plainly, just not written well.

With many reviews I am able to get a sense of the show, why the reviewer liked or disliked it, and am able to take the points mentioned and apply it to my own likes and dislikes to see how I think I would respond to the show. With this review, I understand that he thinks it’s too flashy and doesn’t like most of the cast. But, I don’t feel like he supported these opinions enough for me to get a true idea of why (probably because he spent so much of his article on the original production).

Happy for the cast and crew with all of the raves it received. I am sure they will do great at the Tony’s and have a good, long run. Excited to see the show in July.

I took one look at Orion Griffiths (the guy with the amazing body) and I found the whole evening very sexy. In fact.. even without that hunk Orion Griffiths, i found the evening quite sexy .What was that reviewer talking about?

Dreaming - The Matildas will not win as they are now getting honorable awards. They cannot compete for the Best Actress award. That was announced today.

Brian - I just found that website and love it.

How much of a sexy feeling do these critics want? It ozzes it at times and even flirts with gay sex!

I am kind of tired of the comparisons to Vereen and the original choreography. I could be wrong here, but my felling is that they did a stellar job as I really don't think you can ever recreate Fosse's choreography to the letter. My feeling is that those who learned it directly from him are the only ones who will ever do it right. I just can't see a lot of dancers today being able to handle it 8 times a week. I saw Fosse on dvd and it was a bit frightening. However, I was impressed with CHICAGO the second time I saw it on tour.

Love this revival and hope to see it again. And again, these are just my opinions.

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OK, I'm still a little confused by Ben Brantley's review. How many times has he reviewed revivals of musicals and primarily griped because they didn't find anything "new" or "fun"? Yet this time he seems to only be saying, they did everything "new" and "fun" and would have been far better if they merely copied the original. Essentially his two main points seem to be that this cast and choreographer aren't as "good" as the original. And they do showy for the sake of showy -- well, geez. Isn't that exactly what the original did -- he even insinuates that himself. Remember the over-the-top eyes that moved back and forth on stage? Talk about pushing for the limits! So what IS he saying?

He's saying that

" i have such a glorious memory of the first Pippin it being one of my first Broadway shows that I cannot clearly see this Pippin. For that, I am very confused and am contradicting myself all over the place.