Pippin Tour? — Page 23

Is it true that they only have two days to get to Portland after the Tokyo run? How are they going to get all the sets over?

The Tokyo run end the 20th and the Portland run begins the 22. That doesn't seem like that much time to carry the sets across the Pacific Ocean.

Lisa Karlin apparently is leaving the tour as of today? On the show's (or one of the cast members) Instagram, they said its her last SIP.

Sad.

Can anyone provide a photo of the newest Pippin?

https://www.broadwayworld.com/bwwdance/article/BWW-Interview-Sabrina-Harper-Kicks-High-in-PIPPIN-20150818

BWW's interview with Sabrina Harper.

I'm sure she would do a fantastic job as Roxie... she would be equally as thrilling as Velma. Unfortunately, someone has a stranglehold on that role.

anyone have any truth that the tour will briefly continue on in Europe??

http://imgur.com/gallery/zWi8g

Pic of the playbill for now

I caught this last Saturday in Seattle. I suck at doing reviews--but I'll jot down a few notes.

I thought the company as a whole was one of the strongest I've seen in any touring show. There really was no weak link for me. I admit we got there just before curtain, and I hadn't checked the website (it's been a hectic last few weeks,) so I had no idea who was in our cast, and I am not very "up" on younger Broadway names so probably would have no idea if the younger cast was well known or not (although I did recognize Erik as Louis immediately from the clips I had watched way back of the Broadway run, and was happy to see him.) So I was surprised to read this was Brian Flores' pro debut--I thought he sang pretty much perfectly, and made a role that seems deceptively easy genuinely appealing with a clear arc.

I was THRILLED to finally see Priscella Lopez, someone I've long worshipped, live. Not much else to say there but that she was magnetic. I had seen John Rubinstein ages back in the Vancouver (and LA) cast of Ragtime as Tateh so was thrilled to see him (my theatre neophyte friend who went with me thought he was actually the highlight actor wise--well he and Sabrina Harper as Fastrada.) Bradley was fine as Catherine--but yes, Gabrielle embodied the Leading Player wonderfully.

(Random--During the Entr'acte the guy sitting beside me--not my friend--still hadn't come in and Erik Altemus/Louis ran down our row and then briefly sat in the seat beside me then sprung up and ran back. I was obviously pleased I had the empty seat--I'm sure this is something that usually happens?)

I know everyone here is tired of hearing thoughts about Paulus' actual production, no doubt, but a few random things--comparing it to the Fosse and my expectations...:

I admit I tend to be a purest with Pippin--I've seen that "Fosse cut" of the full 1981 filmed for TV production countless times and grew up on the edited commercial release of that (by grow up I mean I probably watched it 50+ times,) and though I had liked the clips of this when it was on Broadway well enough, I expected to have issues with the production. I was wrong--it really was one of the most enjoyable nights I've ever had at the theatre. Like Matt, I thought I would be sorta over the whole circus thing (although I had seen, and enjoyed 7 Doigts in a small show in Montreal a while back) and I kinda felt this show didn't need to be busier. Yes, there was a lot going on in nearly every scene--but I honestly had a grin plastered on my face from start to finish.

I did kinda miss one thing about the Fosse production--it has that 1970s Fosse sinister feel that was largely missing here (I think partly due to the acrobats, etc.) There was no place really where the audience felt at all slightly uneasy--even during the opening, the finale or Glory (I mean I know the decapitated head scene is always meant to be mostly comic, but when you're watching it done as a magic trick it's quite different.) The players in the original have anachronistic costumes based n different eras that are sinister, kinda disorienting and kinda sleazy. With You/Orgy also seemed to be less overtly erotic (and the build up less wild.) None of this bothered me at all while watching the show--but afterwards, on reflection, I think I miss that bit of element in this production.

Also, re the choreography, and this might be something someone can clear up for me--Chet Walker is credited with choreographing "in the style of Fosse" with a special credit that the Manson Trio is Fosse's original choreo (similar to how for Chicago, Anne Reinking is credited as choreographer using the Fosse vocabulary, with Hot Honey Rag having a special note for using Fosse's choreography.) As someone who grew up watching the video obsessively, like I said,I would say a big chunk of the choreography was directly lifted from Fosse step by step and not new moves "done in his style." Even more so than Reinking and Chicago. (I think this argument was mentioned by some here when Chet won the Tony.) Of course that fact is not a negative for me (and Walker obviously did have to do much of his own stuff to accommodate the acrobatics.)

Anyway, thanks to anyone who stuck with me through this review--but I definitely would recommend catching the tour especially with this current cast.

One big disappointment. I ALWAYS collect the overpriced souvenir programs for any show I see--if they have them--and they were all sold out (from other posts in this forum I take it this happens quite often?) So I guess I'll have to buy online... Sigh :P

Updated On: 8/28/15 at 05:13 AM

watchmesoar said: "The tour is coming to Amsterdam, The Netherlands in March 2016!

"

Thanks! is that the only European stop??

I think this cast is pretty solid. I loved seeing Erik Altemus, Priscilla Lopez and John Rubinstein. I found a bit of added authenticity having two cast members from the original run at the Imperial in the show. Brian Flores is a fine Pippin. His voice is lovely, acting is solid and the dancing was adorable. And then when he let lose in "On the Right Track" we got to see how he really moves. Gabrielle McClinton isn't as sinister as I would have preferred but I acknowledge that it's a bit of a challenge finding the balance with that role. It could easily be taken too far and I think she found an acceptable middle ground without alienating large percentages of the audience by being too vicious.

Potential spoiler.

What I found most interesting when overhearing comments from others is that there were some people in San Diego who seemingly thought Pippin ran off and joined the circus and then left the circus and I'm not sure that they entirely understood that it's supposed to be a traveling circus troupe putting on a play about the story of Pippin, correct? At the end, it's the actor playing Pippin who decides to live an ordinary life away from the circus troupe? That's how I interpreted it but I also get that it's intentionally somewhat ambiguous.

Updated On: 8/28/15 at 12:18 PM

That's what I thought! Now, how did they do that levitation trick with Charlemagne? :)