Regional Reviews: New Jersey / Delaware Valley
Sure, some of the show's themes are evergreenthe futility of war, the passing of time, the tenuous bonds between father and son. Some of the dialogue may even feel prescient: I dare you not to whisper "fake news" when one character asks "Would a newspaper print anything that wasn't true?" The show's central themethe journey to find oneself, with all its concomitant false starts and bitter disappointmentslikely resonates with much of the audience.
Still, these universalisms exist within a creaky framework that hasn't aged particularly well. Schwartz's score is chock full of recognizable hits like "Corner of the Sky," "Magic to Do," and "Simple Joys." Yet despite the talents of an onstage quartet led by keyboardist/conductor Marc Fishman, the music often sounds wan and pedestrian. Schwartz's lyrics are rarely as clever as I remembered them, and Hirson's book more often than not gets in the way of the proceedings. After a more or less fleet first act, the second half spins its wheels on the way to a predictable conclusion.
Divorced from a strong directorial conceptsuch as the circus-themed fantasia of Diane Paulus' dazzling 2013 Broadway revivalthese deficits result in a rather long sit. Director Sam Weisberg's sense of pacing is questionable throughout; actors rush through scenes, overlap dialogue, and frequently seem unsure of what they are expected to do next. And although Cori Cook Burnett's choreography never approaches the virtuosity of Bob Fosse's original numbers, her highly stylized routines generally appear several levels above this cast's competence. The set (by Joseph Haggerty) and costumes (by Julia Peiperl) make good use of PST's limited resources, but Alex Mannix's obvious lighting choices often feel a bit too on the nose.
The production is not helped much by its cast. Kyle Mangold's Pippin is merely blasé, never suggesting the wellspring of passion that the young prince longs to apply to something, anything, that might make his life extraordinary. He possesses a gnat-sized singing voice that could be drowned out by a poorly timed candy wrapper. But do we really want to hear his blood-curdling high notes that crack and wheeze above the staff?
Similarly miscast is Alexandra Holden, whose antiseptic Leading Player captures neither the sensual allure nor the psychological dread of this lord of misrule. Without that charisma, it is hard to understand why Pippin follows her directives so faithfully for so long. Few of the performers in this production have flawless diction, but Holden is the worst offender when it comes to garbling her lyrics.
It is perhaps not surprising that Abby Melnickwho, like most of the cast, is in her early twentiesdoesn't make much of the words in "No Time at All," that paean to pleasure sung by Berthe, Pippin's grandmother. But she isn't helped by the galloping pace with which the number unspools in this production, which steamrolls the sly humor of the song. At least she tries to sing, unlike Elliot Masters, whose gruff sprechgesang approach to Charles is all wrong.
Two performers manage to shine. Renee Gagner turns Fastrada's deliciously diabolical "Spread a Little Sunshine" into a mini-cabaret, suggesting the cool sexuality of a Weimar chanteuse. And Bridget McNiff's Catherine is an unadulterated treat. McNiff manages to capture the character's necessary contradictions; she is bright-eyed yet world-weary, ditzy yet profound. Her singing isn't spectacular, but who cares when she gives such a smart performance?
Is that enough to recommend a trip to what is ultimately a rather tired affair? I'm afraid not. Pippin may open with "Magic to Do," but very little actually gets done.
Pippin continues through July 9, 2017, at the Hamilton Murray Theater, Princeton University campus. Tickets can be purchased online at www.princetonsummertheater.org, or by calling 732-997-0205.