Well I didnt know what to expect i knew a few of the songs new a lot about the original choreography and generally enjoy menier productions so thought it would be worth seeing. I was blown away everything about thsi production is good i genuinely think the way in which they tell the story (how they have modernised it) really appealed to me and made the story actually have more meaning as someone who enjoys both theatre and computer games it really brought two things i enjoy and have good knowledge of together. all of the cast are very good in their roles and the dancers are true performers they really understand the performance element I really enjoyed the new orchestrations for a lot of the songs i thought corner of the sky actually had more growth in it now i also really enjoyed glory and of course the strong and bold opening which is rather different to the original in style. for me however as so many seem to agree the best moment is berthe's song such a brilliant song a nd brilliantly played by louise gold . I would thoroughly reccomend this show to anybody and infact am planning a few returns before its run finishes - Joshua Bird
03 Feb 12
I had read several reviews and can honestly say I wasn't looking forward to going and was actually preparing not to go back after the interval. Well, I can say I really enjoyed the production - I loved the concept and thought it worked well in terms of facilitating the back story. I do like minimalist sets and thought the use of video projection and urban style worked well and the transmission between real and imagined was beautifully integrated. The ensemble sung and moved well and helped to convey the right balance of menace and entertainment. The vocals were strong with particular mention to Matt Rawle and Harry Hepple.I also thoroughly enjoyed the "singalong" with Gay Soper (and I am normally a restrained audience member. I came away with a big grin on my face and happy memories of a fun, entertaining and unusual show - if you get a chance go and see "Pippin" in its last few weeks and I hope you enjoy it as much as I did! - Jayne
31 Jan 12
I saw it today and thought that it was really enjoyable! The performances were absolutely fantastic (choreography also), working really well in the intimate space, and whilst a few moments with the set design did feel a bit '1980s space odessy' it was really bravely re-imagined and it really worked. - Zoe
29 Jan 12
Third visit last night (24th) and well worth it. A near to full house had the opportunity to catch Gay Soper (ex Stephen Schwartz's Godspell 1972!) passing through as this week's stand-in for Granny Berthe. Do take a visit whilst the show is this side of the pond since odds-on it won't trans' to West End but may get to Broadway where 'Pippin' is a household name. - Stevie
25 Jan 12
I just cannot get enough of Pippin and have just made my 3rd booking! Phenomenal performances all round - bravo to all the Players involved!! - Julia
19 Jan 12
Those of us who go to opera have long got used to radical directorial reinvention / reinterpretation. 2011 was a particularly bad year, with Terry Gilliam¡¯s The Damnation of Faust (I asked ENO for my money back as I thougth I¡¯d booked for Berlioz¡¯ The Damnation of Faust ¨C the composer uncredited in the marketing) followed by A Midsummer Night¡¯s Dream relocated from a forest to a boy¡¯s public school! It happens less in theatre ¨C well, except with Shakespeare and other dead writers who can¡¯t answer back ¨C and even less in musicals. In this case, though, it seems composer Stephen Schwartz hasn¡¯t objected, though I¡¯m not sure he¡¯s seen it!
Director Mitch Sebastian¡¯s ¡®big idea¡¯ is to turn it into a video game, which actually isn¡¯t a bad idea. I didn¡¯t think much of this early Schwartz show when I first saw it at the Bridewell Theatre 13 years ago (he went on to write Godspell and Wicked ¨C come to think of it, I don¡¯t think much of those either) so I was up for a radical reinvention / reinterpretation. The production is probably the most visually in-your-face I¡¯ve ever seen. After you enter through the game-player¡¯s bedroom, the stage seems to take up more space than you thought the Menier had and you have to use all of your peripheral vision ¨C and move your head back and fore as if you¡¯re watching a tennis match from the net ¨C to take in as much of the 180 degree staging as you can (it¡¯s impossible to take it all in). The projections by Timothy Bird, often interacting with the performers, are simply extrordinary.
The story concerns the son of Emperor Charles (Charlemagne), his second wife Fastrada, son Pippin and step-son Lewis and in particular to Pippin¡¯s search for purpose and meaning. The problem is the production is a complete mismatch with the predominent musical style (70¡äs pop-rock) and the story¡¯s period (9th century France) so it¡¯s littered with uncomfortable anachronisms, jarrs frequently and just doesn¡¯t work ¨C and it confirms the view that it isn¡¯t a particularly good show. I have to say though that I have much admiration for the craftsmanship ¨C it¡¯s extraordinarily slick as you move from one open-mouthed moment to another, and another¡.
Matt Rawle has great presence and a great voice as the Leading Player (another narrator role to follow his Che in the recent revival of Evita). Ian Kelsey and Frances Ruffelle are very good as the king and queen, as is David Page as the step-son, despite the S&M nature of their costumes! Harry Hepple pulls off the difficult transition from naivety to defiance and back to naivety as Pippin. Louise Gold provides a lovely one-song cameo as grandmother Berthe but the introducion of the role seems completely pointless and the song (with audience participation, complete with panto songsheet!) feels like it popped in from the panto down the road for added seasonality. The musical standards are much higher than the quality of the music and Tom Kelly¡¯s band is good, if somewhat loud for such a small venue ¨C this adds to the feeling that you are being bashed over the head relentlessly to compensate for the mediocre material.
I admire the attempt to breathe new life into an ify show, but have to report that for me it failed ¨C and found me asking the same question I¡¯ve asked a few times recently ¨C what on earth is happening to the Menier? - Gareth James
08 Jan 12
A strange show and at during it you feel it is not that good but then by the end of the show you feel it was not that bad anyway. Two of my favourite people in the show Matt Rawle and Frances Ruffelle though she had quite a small role but enjoyed them here just the same.Definitely like Marmite!!!! - Joe Spiteri
15 Dec 11
So many of the reviews have failed to mention the last laugh is on Fosse - or rather the MC - in this blazing production. As the audience, we are sucked into the 'flash & dazzle' of the productions' design (5*+) and choreography (unparralelled), to have it seized from us in the final ten minutes of the second act. As an other of Fosse's creations came to say in a later show - "It's all showbiz, kid" - & we fall for it hook, line and sinker. Brilliant. - MPB
10 Dec 11
While the "high concept" that Mitch Sebastian has imposed on Schwartz and Hirson's liltingly sinister 1970s musical tale of Charlemagne's errant, drifting son is undeniably spectacular and clever, by reducing the leading characters to players, or avatars, in a computer game, it makes emotional connection with the piece well nigh impossible. Sebastian's low tech but still modern take on the piece at the Bridewell over a decade ago had way more charm and warmth than you'll find here...and the ending was deeply moving. Nonetheless, there is much to enjoy here: the score is full of great numbers, much of the evening is massively exhilarating, and the use of the original Fosse choreographers remind one how few modern dance devisers match up. In the cast Harry Hepple seems a bit old for Pippin and his singing plods when it should soar (Stuart Neal as his sort-of adopted son Theo would seem a much better fit for the title role...he is the understudy). However, Frances Ruffelle is on terrific form as Pippin's villainous stepmom, magnificently supported by David Page as her blood and power-hungry son. Louise Gold injects some much needed humanity to the proceedings as singalong-leading Berthe while Matt Rawle is a malevolently charismatic leading player, with stunning vocals. Carly Bawden as the love interest Catherine is quite wonderful although the emotional impact of the role is blunted by Sebastian's concept. This feels more like aspects of Pippin than the real thing, and serves to make an odd show even less accessible. I enjotyed it but I doubt it will have the extended life of some of the Meniwer's other musicals. Musical theatre buffs should see it though, not least to prove to themselves that Stephen Schwartz has written much better scores than Wicked! - ajh
08 Dec 11
A bizarre mix of massively dated and extremely modern (particularly the twitter number) - it felt like the show was about the concept rather than the story. Very odd indeed. - kettlechild
08 Dec 11
As somebody brought up on the 40 year old original, and having seen it on Broadway, and in the short lived London production, this Pippin is a real shock to the system. At the interval I was unsure about the wisdom of this high tech, video game reimagination of the show, but by the finale, I could only stand and cheer. It is dark, powerful and compelling and moreovover wonderfully designed, lit, acted, sung, danced and staged. It will certainly invite controversy, but for my money it works- and most importantly, the audience loved it. In other words..it works. Go see - Stephen Gilchrist
08 Dec 11
confusing. fey. and boring. trying far too hard to make something modern. massive disappointment. - rik lyons
08 Dec 11
Second viewing last night (Mon. 4th) and as expected it’s produced and directed to near perfection, whizzing by in front of a highly appreciative full house showing Broadway how to do it best – here on the humble South Bank. Strange how shows speed up when you know what’s coming, a bit like the return car journey? A point worth remembering for theatregoers that never see a show twice: I’d highly recommend it since so much content is packed into modern entertainment it can’t be appreciated in one hit, and this machine-code (aka digital) rendition of 'Pippin' is certainly that. A return to 'Ghost' is in order to confirm if 'Pippin', on a relatively shoestring budget, is actually better. A touch of panto’ is courtesy of Louise Gold’s [granny Berthe] popular sing-a-long scene. Not surprisingly there’s backing from the USA for what is viewed by many as Stephen Schwartz's best ever score, lush song after song. Kizz - Stevie
06 Dec 11
Okay... I have never known much about this show, just heard the occasional song, but it has never intrigued me to explore it further. The Chocolate Factory has had a great run of successes, but I have to say that I don't think this will be joining that list. I just don't know why you would want to do this show. I am a huge fan of Mr Schwartz (who was at last nights preview and talking throughout), but I just can't get my head around this show. The cast were okay and the concept was interesting, but I'm not sure executed to the level of the creatives would want. Also slightly confused why you would replicate Bob Fosse's original choreography when you are setting the show in a computer game environment. You could light the Empire State Building with the amount of lighting and projection gear they have in the venue. In turn its beyond hot and an extremely unpleasant to be stuck in there for 2.5 hours. I wish I could think of something positive to say... what a dreary evening. The critics will probably love it... - Mr Hewitt
26 Nov 11
Filing through the newly plaster-boarded tunnel, awash with wet emulsion*, into the auditorium and there's a feeling of something special about to begin. This trendy rendition of 'Pippin' is compered throughout by a scary Brand-a-like. Being no fan of most theatrical attempts at video screens and projection, they get it right, mostly; in shades of grey, silver and muted colours. This is not fringe but Broadway, cleverly creating a sense of Big Show in a chocolate box theatre, hopefully heading for over the river. Miss Bawden, recently staring in 'Brollies & Bicycles' is centre stage post intermission that's less contemporary dance, more trad. stage. The World is set to see more of Miss Bawden, hopefully not always pretending to get her kit off, again uncomfortably on a window ledge. No vertigo problems? The nurds online video-chat sequences lack authenticity and are somewhat naf, cut or work on that; it can still be 'Pippin' in cyberspace. Otherwise a must go show, soon to be slickered to perfection, that proves that all the best creative endeavours come about in times of austerity and uncertainty. Tonight was first preview, new trousers* please. Kiss - Stevie
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