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Regional Reviews: Phoenix Pippin Also see Gil's reviews of The Crucible and Jekyll & Hyde
The plot follows Pippin, the eldest son of King Charles, who is determined to find his "corner of the sky" and discover what will make his life meaningful and not just ordinary. Guided by the charismatic Leading Player, who sets Pippin on the right track to find his extraordinary life, Pippin tries military glory, political rebellion, mindless sex, and family life, only to discover that none make him feel entirely fulfilled and that each offers its own complications. His search becomes increasingly intertwined with the ambitions of his stepmother Fastrada, who wants to see her son Lewis on the throne, and his relationship with the widow Catherine, as the Leading Player and the theatrical troupe presenting his story begin pushing him toward a more dangerous and dramatic conclusion. Schwartz's score is the show's greatest strength, filled with soaring melodies and memorable songs that have become standards of musical theatre. Numbers such as "Magic to Do," "Corner of the Sky," "Morning Glow," and "No Time at All" provide the musical, and this production, with many of its strongest moments. Under Mark 4Man's music direction, the score sounds fantastic, with gorgeous vocals from the entire cast. Hirson's book, however, can be more problematic, with the episodic story sometimes feeling like a series of stops along Pippin's journey rather than a fully developed narrative. Fortunately, the coda to the show's finale, which was added by Mitch Sebastian in 1998 and which was also incorporated into the 2013 Broadway revival, is used here. That helps considerably by giving the ending a more cynical perspective that ties into the overall manipulative nature of the show. It also enforces the idea that everyone is searching for an identity and purpose and that the themes in the play are cyclical and will continue repeating no matter who the Leading Player is trying to coax and coerce along their journey. Lynzee Foreman's direction and the choreography by Catrina Teresa Contini maintain a nearly seamless flow of energy and enthusiasm while bringing a sense of mystery and suspense to the production, which is set within a circus environment, similar to the 2013 Broadway revival production. Renee Kathleen Koher's aerial choreography adds several lovely moments both on stage and when the action comes out into the audience. Foreman's staging captures the theatricality of the piece, while Contini's choreography incorporates hints of Bob Fosse's original work for the Broadway production without simply attempting to copy his distinctive style. The direction feels both purposeful and playful while also keeping the action visually engaging, with a cast who derive nuanced and distinctive performances. Matthew Richards Jr. effectively conveys Pippin's youthful uncertainty and growing desire to find something more meaningful than the life chosen for him. As the Leading Player, Jazmin Noel Moehring brings the necessary combination of charm, mystery, and menace, along with sleek and impressive dance moves, making the character an alluring guide whose intentions become increasingly questionable. Richards and Moehring have fantastic singing voices that impressively deliver soaring versions of many of Schwartz's beloved songs. Marina Blue Jarrette gives Catherine a lovely sense of warmth and humor, making her relationship with Pippin feel natural and more meaningful than some of his other pursuits. As Charles, James Rio provides a grounded portrait of the older king whose own understanding of his role has evolved, while Saran Morgan brings plenty of comic energy and determination to Pippin's scheming stepmother, Fastrada; Morgan's dance skills are incredibly impressive. Carolyn McPhee oozes warmth and love as Pippin's grandmother, Berthe. As Lewis, Pippin's younger half-brother, Steven Martella is amusingly self-absorbed, which makes for a nice contrast to his older sibling's existential quest, while Ryan Koch adds a welcome touch of innocence and sincerity to Theo (Hunter Ball alternates in the role). The ensemble members throw themselves into the production's constant movement with impressive dance, acrobatic, and clowning skills, which helps create the feeling of a troupe of circus performers putting on a show. Douglas Clarke's two-tier set and Morgan Andersen's playfully imaginative costumes evoke the circus-inspired setting of the recent Broadway revival, but this production adds more colorful touches, including Bret Reese's impressive lighting. The result is a world that feels appropriately theatrical and slightly surreal while still allowing the focus to be solely on the performers. Aly Rika's sound design delivers clear vocals and a nice balance between the singers and the music throughout. Pippin may not be a perfect musical, but the production at Arizona Broadway Theatre succeeds because of its strong cast, lively direction, energetic choreography, and, of course, Schwartz's terrific score. While the musical itself doesn't always provide the most cohesive journey, when the production embraces its circus-like theatricality and lets its performers shine, it delivers plenty of the magic, spectacle, and thought-provoking entertainment that have kept this unusual musical of one man's search for self-discovery an audience favorite for more than 50 years. Pippin runs through November 8, 2026, at Arizona Broadway Theatre, 7701 West Paradise Lane, Peoria AZ. For tickets and information, please visit www.azbroadway.org or call 623-776-8400. Director: Lynzee Foreman Cast: |
