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.

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