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Middletown's 'Pippin' avoids the predictable
BY SCOTT KIRSCHMAN
The signs were not encouraging. The theater is just a stone's throw from a senior citizens' center and a bait shop. Local crafts are displayed in the lobby. The theater has the formality of a rec room. Nevertheless, the Middletown Lyric Theatre's production of Pippin completely obliterates any initial impression with a joyous, genuine gem of a show.
Director and choreographer Mike Fielder ignored the happy clown approach typically employed for Stephen Schwartz musicals (Godspell, The Magic Show). Pippin follows the son of King Charlemagne as he discovers it's okay to be ordinary. This slight story is the perfect vehicle for reinterpretation.
Fielder avoids trendy, progressive choreography. Instead, he melds a Bob Fosse methodology of "pretty pictures" to a low-rent but ingenious Julie Taymor sensibility. The song "War is a Science" is presented with video. "With You" is tarted up with scrims and salacious shadows. Borrowing wholesale the revival of Chicago's costume palette, all characters are dressed in black and white: The king wears a tuxedo, Pippin sports vinyl pants. The restrained light design by Tom Wexford and John McPherson maximized the available equipment.
Bill Balfour as Leading Player conveys a seductiveness based on the appearance of reason, which makes the grand finale swindle all the more compelling. As Pippin, Skip Badonsky at first appears to be a refugee from 'N Sync. However, just like the character, his performance grows and expands to a truly moving conclusion.
While the ensemble has a few wobbly voices, their utter commitment is refreshing. Everyone, from David Goin's cluelessly fey Lewis to Julie Joyce-Smith's Judy-Garland-meets-Shelly-Winters Berthe, joins Fielder's vision to transcend any vocal or dance limitation. This is a cast with no weak links.
Like a tiny restaurant or an obscure book, this production should be savored and cherished. Ignore the suburban trappings and the amateurish set. When confidence and ingenuity triumph over limited resources, the resulting Pippin can only be extraordinary.
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Previously in Onstage
Really Young Country 'Strings' dissects Appalachia with story and song
Review By Rodger Pille
(May 6, 1999)
Head Start ETC's 'Violet' gives two local actors their professional launch
Interview By Rick Pender
(May 6, 1999)
Get the Picture? Drama Workshop production showcases strong women
Review By Paul Kreft
(May 6, 1999)
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Other articles by Scott Kirschman
Shaking Old Memories CMT's 'Funny Girl' needs to be less derivative (April 22, 1999)
Funny Farm Egolf takes a comical look at blue-collar living (April 15, 1999)
Not Simply Black or White Senna's first novel is too cautious, too concerned (April 8, 1999)
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