[NEohioPAL] Berko review: PIPPIN @ Weathervane

[Roy Berko]

PIPPIN tries hard, but misses the message at Weathervane

Roy Berko

(Member, American Theatre Critics Association)

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To many people, Stephen Schwartz’s musical, PIPPIN, which is now in production 
at Weathervane Theatre, is a slight musical that is cute, harmless and a little 
bit naughty.  To me, it is a story of meaning and significance.  We observe as 
Pippin, a young prince, searches for purpose in his life.  A life he wishes to 
be “something more than long.”  

Schwartz’s music and lyrics paint a clear tale of Pippin as he searches for his 
“corner of the sky.”  He doesn’t understand why, “I don't fit in anywhere I 
go?”  He has daydreams, and perceives that “thunderclouds have their lightening” 
and “eagles belong where they can fly,” but he can’t seem to find purpose for 
his existence.  He wants to go where his “spirit can run free.” This is heady 
stuff.  And, if interpreted correctly by a director and a cast, there is a 
reverent, almost spiritual underbelly to the goings-on.

I agree with musical theatre scholar Scott Miller who, in From Assassins to West 
Side Story, stated, "PIPPIN is a largely under-appreciated musical with a great 
deal more substance to it than many people realize.”

The musical uses the premise of an acting troupe, led by a Leading Player, who 
tells the story of characters, based on real-life people who lived in the middle 
ages.  Yes, there was a Pippin and a Charlemagne, but the images in Schwartz’s 
tale don’t have much historical accuracy.
The show opened on Broadway in 1972, played almost 2000 performances, and at 
present ranks as the 30th longest-running Big Apple show, exceeding SOUTH 
PACIFIC, MARY POPPINS and HAIR.  It starred Ben Vereen as the Leading Player, 
Jonathan Rubenstein as Pippin, Jill Clayburgh as Catherine (the female love 
interest), and Irene Ryan as Berthe (Pippin’s outlandish grandmother).
The wonderful score includes:  Corner of the Sky, Glory, Simple Joys, With 
You, Morning Glow and Love Song.
The Weathervane Playhouse’s production, under the direction of Eric van Baars, 
is slight on theme development and long on fun.  Characters are broadly 
portrayed, with much feigning and surface performances.  The choreography is 
nicely conceived, the music well performed, the singing often quite good.

Connor Simpson, who doesn’t fit the usual physical image of the actor who plays 
the role of Pippin, has a nice singing voice and has some fine moments. 

Jayson Kolbicz, who dances well and has a pleasant vocal tones, but overacts, 
feigns emotion and is too flamboyant as the Leading Player.   He overshadows and 
loses the importance of the character with an overdrawn fey characterization.

Samantha Rickard makes for a lovely and believable Catherine, while Maria Work 
never quite found a consistent identity for Fastrata.

Karen Wood needed to have more fun as Berthe, especially in Simple Joys.  Henry 
Bishop was a fine Charlemagne.  Cody Hernandez played at being Lewis, rather 
than being Lewis, often substituting pseudo-feminine gestures and over-extended 
facial expressions for meaningful actions.

CAPSULE JUDGEMENT:  Weathervane’s production of PIPPIN is long on glitz and 
short on meaning.   It’s not bad, just, in my opinion, misses the opportunity to 
use the story and wonderful music to tell a purposeful message.

PIPPIN runs through June 26 at Weathervane Theatre.  Call 330-836-2626 or go to 
weathervaneplayhouse.com for tickets.

Roy Berko's blog, which contains theatre and dance reviews from 2001 through 
2011, as well as his consulting and publications information, can be found at 
http://royberko.info.  His reviews can also be found on www.coolcleveland.com 
and www.NeOHIOpal