Just over 40 years after its original run, Pippin makes
a colorful return to Broadway for 2013, with a fresh new look. Set in a
circus tent, the production takes a magical new twist to the classic
musical. With illusions, tricks, stunts, and acrobatics throughout the
show, it is an experience that feels both relevant and modern. This new
production pays homage to its roots, with choreographer Chet Walker (a
cast member of the 1972 production) recreating Fosse's original
choreography. However it still feels fresh, current, and original with
the addition of circus director Gypsy Snider's phenomenal visual feats.
The Players are made of equal parts dancers and acrobats, so there is
always something incredible and beautiful to look at onstage. It
wouldn't be Pippin without
the signature "Fosse style" of dance, which now almost looks like it
was made to go alongside trapeze artists and contortionists. "The
Manson Trio," one of Fosse's most well known pieces of choreography, is
recreated in its entirety, but now instead using male dancers behind the
Leading Player. Every single moment contains outstanding visuals, with
Players performing amazing acts unlike those seen on the Broadway stage
before. Trapeze work, Aerial Silks, lifts, and flips are woven into the
classic choreography to create beautiful imagery for the stage.
Pippin's
main cast, made of both Broadway Mainstays and Newcomers, are what
brings the production together as a whole. Matthew James Thomas(Spider-Man: Turn Off the Dark) is an
extremely likable Pippin. He brings a humble quirkiness to the character
that makes one fall in love with him almost immediately, and his
pop-style vocals give an unique twist to Stephen Schwartz's score. He is
just awkward enough that it is endearing, stumbling and stammering his
way through the first act, and the audience bursts into cheers once
Thomas reveals serious dance skills early in Act Two. Although it is
not a new concept, Patina Miller(Sister Act) shines as the Leader Player, a role
usually portrayed by a man. She commands the stages from the moment the
words "Join us" leave her lips at the top of the show. Miller's ease
onstage is reminiscent of Ben Vereen's portrayal, with a graceful
feminine twist as the circus' Ringmaster. She makes the perfect opposite
to Thomas; the two work off of one another to create moments that are
both humorous and intriguing, especially in the Act Two opener "On the
Right Track." Husband-and-Wife Broadway veteran team Terrence Mann(Beauty and the Beast) and
Christine d'Amboise(Carrie) portray King and Queen duo Charles and Fastrada.
Mann brings wit to the usually dry role, and d'Amboise's dancing is
captivating. Andrea Martin(Young Frankenstein) as Berthe is the stand out of the veteran
cast; she steals the show during her song "No Time at All," bringing
both some laughs as well as few surprises (which you need to see to
believe!). 
What this revival achieves, and what sets it apart from most other
productions, is that it has successfully made the entire show both
enjoyable and entertaining. Songs that are usually not as favored by
audiences, like "Extraordinary" are now show-stoppers. "Morning Glow,"
the Act One Finale, is more powerful than ever before. Each new song
outdoes the last, which is no easy task. From the colorful set and
costumes, to the strength of its cast, to Schwartz's classic score, Pippin is a production that is meant to be seen by all audiences, both young and old. It is a spectacle, to say the very least. Pippin is
the kind of production that will make young audiences fall in love with
live theatre, as well as remind seasoned theatergoers why they fell in
love so long ago. Review By: Kelcie Kosberg
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