Pippin previews start tomorrow — Page 6

There's also that^ The first broadway commercial to have an actual number from the show on it.

The matter of shunning Stephen has never been to my knowledge openly admitted, which is why I said supposedly. But according to Fosse's biography he was banned from the rehearsals in the original production, and I do recall reading something about him being shunned, not immediately after Pippin, but a couple of years after, due his problems with Fosse.

Updated On: 3/25/13 at 03:31 PM

From what I remember, Fosse's vision for Pippin was wildly different from Schwartz's including having Ben Vereen written in as a new character and thus, demanding new musical numbers overnight. Schwartz was young and his ego had grown with his newfound success in Godspell, but I don't think the situation was so simply one-sided.

That being said, other than Fosse's staging, I was never a huge fan of Pippin. Most of the book and score bore me to tears. Sounds like Fosse (and Paulus) did the right thing in dressing up the show as much as possible, but the drastic changes in his original concept were probably just a titch humiliating to the composer. Whatever. It worked out for the show. And if Schwartz was "shunned", he could certainly afford to do what he wanted by then.

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There are quite a number or Pippin developmental scripts that have been leaked or openly submitted through the years by MTI.

A previous Pippin thread had some in depth discussion of the changes between editions of the script, from the Fosse-less mimeographed version to the almost all Fosse version, to the hybrid they send out today.

FWIW: I saw the original, way back when. It was the third true Broadway show I'd ever seen, and I was enchanted with it, like the moment right at the start when that first big drop set piece comes out from the stage floor.

But I have to admit: the years are not being kind to the show. I was watching the Australian DVD a few months ago, and found myself... well, bored, much as I hate to say it. The score runs hot and cold, and I suspect it took all of Fosse's creativity to make this work as well as it did.

Having said that, I might check this one out, if for no other reason than to see fellow Canuck Andrea. She's come a long way from "That's right, Edna" and Pirini Schlorosa.

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They've added a female swing for the Broadway production: Sabrina Harper. The Pippins u/s are:

For The Leading Player - Stephanie Pope, Molly Tynes
For Pippin - Erik Altemus
For Charles - Colin Cunliffe, Andrew Fitch
For Fastrada - Sabrina Harper, Molly Tynes
For Catherine - Bethany Moore, Molly Tynes
For Berthe - Sabrina Harper
For Lewis - Colin Cunliffe

surprised they only have one u/s for Pippin.

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Sorry I just had to point that out because you pointed out you were Canadian. :P I believe it was filmed at the Hummingbird Center in Toronto (now the Sony) but a part of me wants to saay it was shot in Ottawa. At any rate, kinda random to film it in Canada especially since the production was put together solely to be filmed--it wasn't already running there or anything.

Okay, now you made me get it out and look.

The Aussie part: one of the producers on this was the Australian and New Zealand Banking Group.

Filmed at the Hamilton Place Theatre in Hamilton, Ont.

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I believe one of the reasons it was filmed in Hamilton was due to the fact that at that time the Canadian dollar was about 60 cents on the U.S. dollar and made for considerable savings.

Agree with Eric wishing the uncut version was available. Some of the cuts make the admittedly slender plot almost incoherent.

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My favorite moment from the original. The number in which the big faces had eyes that moved back and forth from stage right to stage left. LOVED that bit.

Whizzer... I think there might be potential for a book of reviews on a small scale? I know some BWW people would buy it. We could call it "Whizzer's Wiveting Weviews," or something far less risible. Think about it.

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I agree with Whizzer, can't imagine this won't win the Tony. And although I never saw the original, the woman sitting next to me at the first performance had; she adores the show, knew every word of every song, and said she liked this version better.

There are a lot of astounding and awe-inspiring feats being pulled off in PIPPIN, but the most impressive feat this show possesses is Diane Paulus' absolutely astonishing direction and wonderfully inventive eye. It's no secret that I was completely blown away by her revival of HAIR a few years back, and after a fine (but hardly great) job directing PORGY & BESS, she's got her mojo back with PIPPIN. And she's arguably turning in her best work to date with this production. She manages to make this a PIPPIN for 2013, while still staying true to the original Fosse vision and paying homage to his genius.

I have to admit it does take about 10 minutes to really get off the ground after the opening (the scene with Charlamagne and Pippin before "War is a Science" isn't particularly strong), but once it does, this baby soars for two hours and forty minutes, barely even coming close to striking a false note along the way. The circus conceit is so brilliant that you don't realize how truly brilliant it is until that penultimate sequence and the final tableau, which is stunning and very moving.

I can't say enough about this cast. What an ensemble! Wow, wow, wow. They aren't enough positive adjectives to describe them. Terrence Mann and Charlotte d'Amboise are deliciously evil and are clearly having a ball with this material. Rachel Bay Jones is hysterical and so sweetly lovable as Catherine. The less that is said about Andrea Martin, the better. Because what she pulls off in "No Time At All" must be seen live to be fully appreciated. That Tony should be engraved now. She got a rapturous standing ovation tonight and I get the feeling that reaction will continue for quite some time. Matthew James Thomas is a wonderfully unorthodox choice for Pippin, with his raspy voice and darker approach to the character, and it worked very well for me. And Patina Miller is giving a performance that I imagine would have made Bob Fosse so proud. She manages to be leagues better than she was in SISTER ACT, which I adored her in, and who the hell knew she could dance like that?! *SPOILER??* My only issue with her performance was that when the Leading Player takes a dark, sinister turn towards the end of the show, Patina was still a bit too "showy" for me. I wanted her to really dig deep and bellow at the orchestra to stop playing. That moment should make the audience think "OH SH*T. This b*tch is scary..." But instead she got an awkward laugh from a large portion of the audience when she did so. *END SPOILER* But besides that, she is giving a truly extraordinary performance, and managed to even get a partial standing O after "On the Right Track."

Everything about this production looks flawless. The sets, the lights, the costumes...ugh, they're so perfect. And the orchestra and sound design could not be more clear, crisp, or on point. Up until tonight, I was admittedly underwhelmed by this season's musical offerings on Broadway. But this takes the cake and is head and shoulders above many, if not all of the shows I've seen on Broadway this year.

Go. Go. Go. Go!

Updated On: 3/28/13 at 11:48 PM

"Andrea Martin got a massive standing ovation in the middle of the show. I'd like to think she has the Tony in the bag."

From all accounts that seems the most likely, but who knows what will happen. Ms. Maxwell's bag is surprisingly light considering the number of times it was assumed she had a Tony Award in there.