Pippin @ The Music Box Theatre

                  

                 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

Sister Act @ Broadway Theatre

Get out your habits! Find your rosaries! And, have your yard stick handy! Sister Act the Musical has arrived on Broadway! Based off of the hit 1992 film of the same that starred Whoopi Goldberg, now serving as the show’s producer, in the title role, Sister Act is back and funnier than ever. With all original songs by Alan Menken and Glenn Slater, this “divine” new musical shines as one of Broadway’s best new musicals. There is nun-thing else like it!

 This sacramental new musical tells the story of Deloris Van Cartier and lounge singer desperately trying to make it big. After discovering that her lover, Curtis Jackson, has no intention to leave his wife and make her a star, Deloris decides to pick up, pack up, and try to make it on her own. Before she can do this, however, she witnesses Curtis murder one of his own employees. Rattled by this, Deloris makes a break for it and runs straight to the Philadelphia Police Station where she is reunited with “Sweaty Eddie” Souther with whom she used to go to elementary school with; and, who is now working as the main investigator in this crime. Eddie quickly realizes that Deloris must go into hiding; and, he knows the perfect spot – the local convent. Led my Mother Superior and Monsignor O’Hara, this new hideaway for Deloris is facing problems of its own – nuns who want more in life, the danger of closing due to low population at mass, and a choir that is anything but heavenly. As different events unfold, every character is moved in unexpecting ways learning that God has a plan for each and every single of us.

This ensemble piece is led by the fabulous Patina Miller (stared as the original Deloris in the West End production of Sister Act) as the woman in hiding, Deloris Van Cartier. Miller takes the audience to heaven and back with her soulful voice, powerful acting, and stunning comedic timing. While making the part her own, Miller still pays homage to the work of the great Whoopi Goldberg. Her performance is fresh, upbeat, and an all around joy to watch. Playing opposite Miller is the old school Mother Superior played by Victoria Clark (Tony Award winner for The Light in the Piazza). Clark gives a glorous performance - allowing the audience to see all of the sides of this "tough cookie" - religious, stirn, doubtful, and caring.  Carrying the male side of things is Kingsley Leggs (from Broadway’s The Color Purple) as the leader of crime, Curtis, and Chester Gregory (from Broadway’s Cry Baby and Tarzan) as the knight in shining armor, Eddie. Leggs and Gregory give stunning performances as the ex and soon to be love interests of Deloris. Gregory brings down the house with his wanna be love ballad “I Could Be That Guy” – he shows off his vocal and dance chops all while being surrounded by a bunch of corner bums. Spreading the Good News is Sarah Bolt (from Broadway’s Wicked), Marla Mindelle (from Broadway’s South Pacific), and Audrie Neenan (from Broadway’s Oklahoma! and Picnic) as the pack of nuns roaming inside the walls of the convent. These three women provide non-stop laughs throughout the entire play – making pun on everything from religion to theatre to language. Holding down the fort of the church is Fred Applegate (from Broadway’s La Cage aux Folles and Young Frankenstein) as Monsignor O’Hara. Applegate truly shines in this role as he goes from figure of God to Dance Club MC as the play moves forward. This wonderful ensemble brings this new musical to Broadway in a big way.

Not borrowing any songs from the movie, Sister Act has brilliant music and lyrics by Alan Menken (score for Broadway’s The Little Shop of Horrors and Disney’s Beauty and the Beast) and Glenn Slater (Broadway’s The Little Mermaid and London’s Love Never Dies). Together, Menken and Slater created a rich score complete with disco hits, soulful ballets, and hip church hymns. Bringing this score into the light is director Jerry Zaks (currently represented on Broadway with The Addams Family). Zaks does a stunning job moving the story along smoothly amidst the intricate set changes and large ensemble numbers. Zaks creates wonderful images that are enhanced by the stunning designs of Klara Zieglerova (Broadway’s Jersey Boys) for the set, Natasha Katz (Broadway’s Aida and Elf) for the lighting, and Lez Brotherston (Broadway’s Swan Lake) for the costumes. Together these three designers work together to bring the slums of Philadelphia’s back streets, the dreariness of the convent, and the construction of the church to life with hints of the glamorous disco clubs of the 70s. The picture painted is absolutely stunning – allowing Sister Act to take its place as one of Broadway’s new smash hits.

Whether or not you love the movie and know the lyrics to every song or you have never even heard of the movie, you must see this show. Sister Act the Musical arrives on Broadway at the absolute perfect time – a time when everyone just needs a good laugh. Simply go to the theatre, relax, laugh, and be taken to heaven!

Review By: James Russo & Ryan Oliveti