By Karen Kennedy
Gorgeous.
In a word, Civic Theatre’s production of “Pippin,” which runs through Sept. 21, is gorgeous.
Simply staged, beautifully costumed, expertly choreographed, elegantly acted, and with powerhouse vocals, this production of Pippin brought an age-old musical tale to vivid life.
The key to loving any production of Pippin is loving Pippin himself.
Because the show is an everyman’s tale of searching for meaning in one’s existence, it can easily become a self-indulgent tale of an entitled young boy who finds a way to be unhappy with every card he is dealt. If one cannot empathize with Pippin and his struggle, the show becomes a tiresome journey of a whiny, spoiled and selfish central character with some catchy tunes interspersed.
Ethan Litt, in his Civic debut, brought an earnest, endearing quality to Pippin from the minute he stepped onto the stage. An immediately likable and sympathetic character, the audience could not help but root for him from the minute his overbearing father noted he had missed dinner the night before, to which Pippin replied, “No, I was there.”
Litt brought a freshness to Pippin’s expository song, “Corner of the Sky,” which has been sung nearly to death in open mics and auditions, finishing with a lilting, sustained falsetto many singers could not have pulled off.
Nathalie Cruz presented a commanding Leading Player. The role can be tricky; because the Leading Player has an ulterior motive, it’s easy to for the actor portraying him or her to come across as ruthless and manipulative. While Cruz’ interpretation of the character was powerful and convincing, she also brought enough humor to the role to make the Leading Player likable, which is not always easy to do.
Gary Life as Pippin’s father Charles was simultaneously boorish and very funny, and he nailed the demanding patter song, “War is a Science.”
Dejuan Jackson, in various roles as Lewis, Pippin’s buffoonish brother, and other players in the chorus was a scene-stealer, as was Martin Casanova, a principal dancer with Gregory Hancock Dance Theatre. Fifth grader Ethan Halford Holder, as young Theo, the character who ultimately brings meaning to Pippin’s life, was confident and engaging. Holder already has a very impressive bio, and we will certainly see more of him on our local stages.
Ryan Koharchik not only directed the production, but also did the set and lighting design, which was consciously austere and very effective (especially the scene at Arles, which was breathtaking.) The use of actual war footage during the battle scene added an interesting layer to the show. However, the 3-D glasses during Vickie Cornelius Phipps’ show-stopper “No Time at All,” while fun, actually detracted from the number by pulling focus from the stage as audience members fumbled in the dark for them.
Adrienne Conces’ costumes were spectacular, rivaling the current Broadway production. Michael Worcel’s choreography was complex and sexy, and every player on the stage nailed it, especially Jenny Shoup, who was impossible not to watch. The spot-on choral vocals and pit orchestra were music directed by Brent Marty.
Overall, this was an extraordinary production of “Pippin.” Fosse would be proud.