Pippin previews start tomorrow — Page 7

Famebroadway2, where were you sitting when you took those pictures?

Anyone, what do you recommend out of the following?
1st row mezz side, midd of the row
5th row mezz center section
5th row mezz side 2nd pair off the aisle

Whizzer mentioned that, compared to the video, this Pippin's plot is less clunky and streamlined. Can anyone talk about the changes? (I believe there was some discussion about which ending they used.) The video of course--as released--cuts out two scenes I think ARE in the Paulus version--the decapitated head scene and the duck scene/quick song, or are they? Would love to hear any other edits or changes.

Someone else mentioned the first ten minutes may be slow but the following 2 hours and 40 minutes were divine... Which makes me wonder how long it runs? The edited DVD is about 110 minutes. The "Fosse cut" of that DVD is about 2 hours and 12 minutes. Of course that production didn't have an intermission--but 2 hours and 50 mins seems kinda long for Pippin.

That comment doesn't give away too much. Relax.

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I mentioned this in another thread, but I felt like The Emperor's New Clothes watching this. It felt like bad community theatre. Everything about it from top to bottom felt amateur, except the cast who to their credit are all working very hard. Patina Miller in particular is magnificent and I hope she's recognized for her performance. But I went in expecting to be wowed and to leave understanding all the praise this show has received and I left bewildered. The book is as inept and confusing as ever, but this time it's dolled up with acrobatics, both literal and vocal, and outfitted with every distraction you can think of to try to sell you on the idea that this show is more than what it actually is, mediocre shlock.

Andrea Martin was a standout, but a Tony nomination? She's onstage for like...10 minutes. If that. Her number is amazing and she's one of my favorites to see onstage, but again. Bewildered. Everything about the show left me more than a little confused as to why it's eliciting such a reaction from others. I'd say I missed something, but what's there to miss? Yikes. Judging by the reviews out of town and the audience reaction, I'm sure this will be a hit, but I wouldn't recommend it to anyone.

As far as the seats, I sat in the mezz slightly on the left and the view was great. I recommend the mezz for this show because of all the acrobatics and stunts, we had a great view. Though there was some kind of school group there last night that talked and yapped all through the show, took pictures, etc. I believe security and the house manager had to attempt to deal with them but to no avail, everyone around us was complaining about them and shushing them but nothing could get these brats to shut up and put their iPhones away. Yay, live theatre.

Sorry to be a negative Nancy in this thread of raves, but I really genuinely am baffled by what I saw last night.

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Eric, the decapitated head and the Duck scene/song are both in the show. (The duck scene in particular has been changed from Boston as well.)

It is a bit lengthy. I saw the second preview and the show definitely ran a bit longer due to applause, and a longer intermission but I imagine that once it opens it will run around 2:40 when they have tightened it a bit.

Interesting observation about the way Berthe is written, TheLadyOfTheWood! You're very right, but because of Irene Ryan's "type," the role has typically been played quasi-Betty White before Betty White was "you know, Betty White type." A post-Golden Girls sassy elderly biddy who surprises you with how lively her persona is.

Meanwhile, Andrea Martin brings "No Time At All" a whole new meaning and interpretation with the act, one which shows the changing perspectives on age, capability and senior life in the past forty years. "You think sixties is old?" Martin's Berthe seems to ask. "Well, could 'old' do THIS?"

EDIT: I had originally typed Irene Adler instead of Irene Ryan- that's what I get for watching the BBC while typing structural analysis!

Updated On: 4/6/13 at 04:36 PM

Question about tickets: Clearly the show is selling well already and will likely win Best Revival. I am coming to NYC at the end of July – by when do you think I should get tickets by? Also, any chance that there will continue to be discounts for this through the summer or no? Obviously, getting the tickets as early as possible is best, but any guesses on when the latest I should buy by (for somewhat good seats)?

Just a heads-up for ticket buyers: the Broadwaybox and Playbill discount codes are NO LONGER being accepted for any weekend performances. Found that out the hard way on Sunday, and paid full price for May tickets.

darguek, don't mean to be "that guy," but I think you meant Irene Ryan, not Irene Adler - maybe you had Sherlock Holmes on your mind - ironically, Conan Doyle's Irene Adler character is the antithesis of the "Betty White" type you were describing.

Updated On: 4/2/13 at 02:31 PM

Andrea Martin is getting an audience response like I've never seen before, in over 37 years of attending Broadway shows. Previews have only been running for about two weeks, and there's already tons of buzz about her. I can't fathom her not winning her 2nd Tony for this.

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Having been charmed with it in Boston, I'm so glad to see Pippin being so enjoyed by NY! I wish I knew when I was going to get a chance to see it again!

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I did rush on Saturday during my brief trip to New York, and I was very glad I did. This production is fantastic, and should not be missed. The circus concept really ties the show together wonderfully, and Patina Miller is a fantastic leading player. Some of the descriptions I read on here (especially about Andrea Martin's number involving acrobatics) made me nervous, but I was really surprised by how perfectly everything worked! I had a few minor problems, though, and since what worked so well has been discussed to death here, I thought I'd focus on these.

First, Charlotte D'amboise, who was a wonderful dancer and actress, didn't really have the vocal stamina for her song. It is a very difficult song to sing, and she is not a singer first. She was literally gasping for air in every available pause.

Also, I still don't like the new ending with Theo. The original ending, while maybe a little awkward way to end a show, really made a strong, memorable statement that made you leave the theatre thinking. The new ending finishes the show on a bigger note that almost undermines what has happened in the show. It's really disheartening to think that Theo hasn't learned anything from Pippin, and the original ending does not lack in heart.

The big dance sequence following "With You" was really tame. I've seen productions of Pippin go much further with this scene, and I really believe that it works better if the audience becomes uncomfortable. But, of course, the acrobatics were stunning to watch.

That said, the rest of this show is absolutely brilliant! It was particularly exciting because at the performance I attended, it was clear that everyone in the audience was so happy that Pippin is back on Broadway in a first-rate production. There was huge applause when the lights lowered and for all the entrances, and there were long, well-deserved ovations after every number. The audience provided so much energy that the performers were able to give right back, which really made the show special.

"Mind you I don't really care for this show, but I bought a ticket because I couldn't get one to Matilda and it was the closest theater where I could buy a ticket to use the restroom."

Has got to be one of the more interesting reasons I've heard for buying a ticket to a show, on this forum.