Pippin (Obsidian Theatrical Productions)

Pippin is a seriously under-performed musical from the stable of Stephen Schwartz who is probably known more readily for Godspell (and recently Wicked), there is definitely something Godspell-esque about this story only it just has a more fictional base around the main character Pippin and his father Charlemagne.

If there was any society that was going to pick-up the gauntlet to deliver a meaningful production of this one it was going to be Obsidian Theatrical Productions and meaningful is probably an understatement, I ought to use some of the words direct from Mr Schwartz, perhaps mystic, exotic or even anecdotic might be closer to the truth.

The Players as they are known, have no direct character names, although they assume various roles throughout the performance and are directed (sometimes forcefully or anarchically) by the Leading Player, a deeply controlling performance from Richard Bateman.

Robert Bateman consumes the character of Pippin, his constant search for fulfilment is at times a real strain for him (are any of us truly fulfilled) but, he is not too be deterred, fortunately not to the point of setting himself on fire to achieve the ultimate finale.

Tony Faughnan is forthright and regularly direct in the guise of Charlemagne, probably one of the few characters (outside of Jesus Christ) that I have witnessed returning from the dead and he does so in style.

In a show full of amazing individual characterisations, there is one that is simply 'musical theatre gold', Beth Rawson as Pippin's grandmother Berthe and her rendition of 'No Time At All' is an ephemeral triumph not to be missed.

Despite some individual mentions it feels in what is very much an ensemble piece, wrong not to mention all of the players, including Bethany Waller-Scott, Chris Westwood, Darcy Humphries, Harry Clapham, Rhianne Brough, Roni Elson and of course Otto the Duck whose sad demise during the performance will take some time to recover from.

Choreography (along with Direction) by Robert Bateman is varied and adds depth to the individual story scenes as does the music by Phil Ypres-Smith (who must be in recovery after receiving the sharp end of the Leading Player's tongue as he starts to realise that the entire world doesn't obey his every word) and his band.

Rivers belong where they can ramble, eagles belong where they can fly and you belong in the audience at The Dovehouse Theatre, Solihull before you miss the chance to see something special that it may be a long time before you can see again.

Book Here

Comments

Post a Comment

Popular posts from this blog

Musical Fable of Stourbridge

The name is Brannigan, Lieutenant Brannigan to you, 14th Precinct New York, I was on a stake-out at a place they call the Town Hall, I've heard of City Hall but, this was something different, joints within a joint, just a front for illegal activity in my book. Infiltrated myself into their seedy back room haunt, it was men only and obviously gambling makes you forgetful, if it wasn't their shoes, it was their shirt, one couldn't even remember my name but, that works in my favour while I am gathering evidence. What a bunch of low lives, hiding behind a Mission (I kept hearing 'Sally Army', I think the Brits have invaded but, its a bit early for The Beatles) fronted-up by 'The Sergeant' Sarah Brown, she's a looker with a voice that could shatter crystal but, I knew she had a weak point, trip to Havana, couple of Bacardi's and she forgets which side of the law she is on, some broads are an easy target. Then there's the old guy, Abernathy, always sin...
Read more

Sweet Charity (Queensbridge Musical Theatre Society)

Considering the major names like Cy Coleman, Bob Fosse and Neil Simon that are all connected to the various incarnations of the story of the 'girl who just wanted to be loved' its popularity for performance hasn't been widespread recently, perhaps due to the fact that the performances of Shirley MacLaine and Sammy Davis Jr in the 1969 Movie are so iconic but, Queensbridge MTS have decided to pick up the gauntlet and bring what is a very 60s vibe into the 2000s. What makes this production a hit from beginning is an effervescent performance by Sarah Odom as Charity Hope Valentine, giving Miss MacLaine a run for her money and with an engaging personality that just exudes 'likeable' and has the audience on her side from the first note played by Stephen Greenway's orchestra. Equally 'likeable' but, in a more reserved and endearing way is Sam Troke as Oscar Lindquist, he who coins the phrase 'Sweet Charity' and almost makes her dreams come true, on...
Read more

Cats (Vic's School of Musical Theatre)

Well I have seen a few musical productions in my time and have been inspired to write some elaborate and auspicious words by many but, I am a little concerned that I might not have all the right observations to do justice to what can only be described as a truly breathtaking production of 'Cats' by Vic's School of Musical Theatre (the Vic in question being Vicky Addis, somebody who whilst being blessed with some talented youngsters to theatrically mould, obviously knows how to turn potential into reality on stage). Just to fill the gap if you haven't had the 'Cats' experience yet, basically poems by T.S. Eliot set to music by Andrew Lloyd Webber, a theatre filler since the 1980s and will undoubtedly fill the Parish Rooms at Blakedown in this case, for its sadly all too short run. So, where do I start with a plethora of engaging and characterful performances, perhaps with the captivating portrayal of Mungojerrie and Rumpleteaser by Kate Downes and Molly Cooper, a...
Read more