Pippin previews start tomorrow — Page 4

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Updated On: 3/24/13 at 05:27 PM

Pictures from Last night.



Main Curtain


Intermission

How come the title curtain isn't there for the beginning of the show? The opening curtain looks kind of bland compared to the intermission curtain.

Saw it in Boston and assuming it is at least similar on Broadway, but the reason for the opening curtain being different than intermission is because of the opening. Even though it is much more bland, it lends itself to a great moment during "Magic to Do". It's not a huge spoiler, but I don't want to say anymore! I'll let you experience that on your own!

There definitely merchandise for sale, though i didn't see what there was other than small stuffed ducks. i think T-shirts.
They have guys walking around and selling them out of boxes (like snacks at the circus?) so you couldn't really see what was in them.

For anyone that's seen the show or familiar with the theatre, how is row B 22,24 of Mezz for this show? Too extreme side limited view or would row J center be better? Thanks

"Well, Paulus did say that she was incorporating circus acts, so it only makes sense that the leading player takes on the role of ring master. And I think if the circus acts were too outrageous, it would take away from the story of Pippin and could turn the production into a mess. Also, I'm not familiar enough to know, but maybe using pyrotechnics is not the style of Gypsy Snider's troupe? In context for what Paulus is trying to do here, I think the circus acts fit in perfectly and work with the story telling."

I wasn't using pyrotechnics literally, I realize now it was a poor choice of words considering there are actually pyrotechnics in Pippin. I just meant the circus acts with the exception of Andreas (simply because she is doing it) and the centerpiece of the second act opener are low tech and not very impressive because we are exposed to so much circus these days.

As much as I love the songs in Pippin the book is a non-starter. The Bob Fosse staging and the performances it inspired were electrifying. I have suffered through many productions of Pippin through the years hoping to see that spark rekindled and always thought it was the difference between professional and non professional productions. Sitting at the Music Box it was even more evident what a magnificent job Fosse did because now not only do we have his essence in the choreography but we have another layer of circus work trying to mask the underlying book problems. It's almost overkill.

I was hoping this director's organic approach would elevate the show theatrically in a new way but what she has put up on the stage is just a different flavor of the Fosse original that is not as dynamic. Lets face it Fosse's touches inspired a lot of shouts of the emperor having no clothes, this production feels overdressed. I felt they should have either celebrated Fosse or found their own way - here we have watered down Fosse and watered down circus weighing heavily on a book that isn't prepared to support it.

I guess you can't go home again, we do have You Tube but there was nothing like experiencing the theatricality of Fosse's Pippin live. I felt the same way about Hal Prince's Follies. I always thought that production was ahead if its time so why not revive that production? Financial considerations aside. I would love for the younger theatre audiences of today to experience the original Pippin too. In many cases where the director was the reason or a large part of the reason for a show's success I think it could follow that the directors work be revived.

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The pre-set curtain goes to the circus motif, so it's like your outside the tent about to go in - which is a stunning moment.

Merchandise I saw: magnet, silver keychain, hula hoop (in pieces), little duck, poster, pippin t-shirt and i think sweatshirt, and an "extraordinary" t-shirt (unless it was the back of the other t-shirt).

Saw the show tonight. Aside from some nagging mic problems whenever Patina's mic switch the "song" setting, and some costume issues with Charlotte, it was a spectacular evening. All I kept thinking was I want to see this over and over.

Note to seating, I was sitting 5th row (3rd row on orch sides) and that is really as close as I want to be. The house staff literally walked down to the folks 1st row center asking if anyone wanted a booster seat, and to come to them at intermission if they changed their mind.

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I love the curtain(s).

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"Julie Taymor would never say she always listened to the Pippin "soundtrack" growing up."

No, she'd say that she listened to the PIPPIN nose bubble pink funktronic Moosehead vibration maker growing up -- and expect us to think she'd made art.

^ and include a song where the Leading Player goes shoe shopping.

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"As much as I love the songs in Pippin the book is a non-starter. The Bob Fosse staging and the performances it inspired were electrifying. I have suffered through many productions of Pippin through the years hoping to see that spark rekindled and always thought it was the difference between professional and non professional productions. Sitting at the Music Box it was even more evident what a magnificent job Fosse did because now not only do we have his essence in the choreography but we have another layer of circus work trying to mask the underlying book problems. It's almost overkill. "

This!

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