Original Cast RecordingMusicLyricsStephen SchwartzBook(additional material)BasisFictitious life of, son ofProductions81 Canadian television122013 Broadway revival2014 First US National Tour2017 Second US National Tour2018AwardsPippin is a 1972 with music and lyrics by and a book by., who directed the original Broadway production, also contributed to the. The musical uses the premise of a mysterious, led by a Leading Player, to tell the story of, a young prince on his search for and significance.The protagonist Pippin and his father are characters derived from two real-life individuals of the early, though the plot is fictional and presents no historical accuracy regarding either. The show was partially financed. As of April 2019, the original run of Pippin is the 36th.and won for their portrayals of the Leading Player in the original Broadway production and the 2013 revival, respectively, making them the first actors to win Tonys for Best Leading Actor and Best Leading Actress in a Musical, for the same role. Contents.Background Pippin was originally conceived as a student musical titled Pippin, Pippin and performed by 's theatre troupe. Stephen Schwartz collaborated with Ron Strauss, and, when Schwartz decided to develop the show further, Strauss left the project.
Schwartz had said that not a single line nor note from Carnegie Mellon's Pippin, Pippin made it into the final version. Synopsis Act 1 This musical begins with the Leading Player of a and the accompanying in various costume pieces from several different time periods, establishing the play's intentionally, unconventional feel. The Leading Player and troupe, throughout the performance, channel the and immediately break the, directly speaking to the and provocatively inviting their attention (').
They begin a story about a boy prince searching for existential fulfillment. They reveal that the boy who is to play the prince, named Pippin, is a new actor. Pippin talks to of his dreams to find where he belongs ('Corner of the Sky'), and they happily applaud Pippin on his ambitious quest for an extraordinary life. Pippin then returns home to the castle and estate of his father, King Charles (known by the ').
Charles and Pippin don't get a chance to communicate often, as they are interrupted by, and vying for Charles' attention ('Welcome Home'), and Charles is clearly uncomfortable speaking with his educated son or expressing any loving emotions. Pippin also meets up with his stepmother, and her dim-witted son. Charles and Lewis are planning on going into battle against the soon, and Pippin begs Charles to take him along so as to prove himself.
Pippin is a 1972 musical with music and lyrics by Stephen Schwartz and a book by Roger O. Bob Fosse, who directed the original Broadway production, also contributed to the libretto.The musical uses the premise of a mysterious performance troupe, led by a Leading Player, to tell the story of Pippin, a young prince on his search for meaning and significance. Extraordinary 'Pippin' at the Hippodrome I f there is one word that describes the production of Pippin that is currently gracing the Hippodrome Theatre stage is “spectacle.” And if I add a second word, then it would be “extraordinary.”.
Charles reluctantly agrees and proceeds to explain a battle plan to his men ('War is a Science').Once in battle, the Leading Player re-enters to lead the troupe in a mock battle using, and fancy to glorify and ('Glory'), with the Leading Player and two lead dancers in the middle (performing 's famous 'Manson Trio'). This of war does not appeal to Pippin, and he flees into the countryside. The Leading Player tells the audience of Pippin's travels through the country, until he stops at his grandmother's estate ('Simple Joys'). There, Berthe (his paternal grandmother, exiled by Fastrada) tells Pippin not to be so serious and to live a little ('No Time At All'). Pippin takes this advice and decides to search for something a bit more lighthearted ('With You'). While he initially enjoys many meaningless sexual encounters, he soon discovers that relationships without love leave you 'empty and unfulfilled.' The Leading Player then tells Pippin that perhaps he should fight, and uses Charles as a perfect example of an uneducated tyrant to fight.
Pippin plans a, and Fastrada is delighted to hear that perhaps Charles and Pippin will both perish so that her beloved Lewis can become king. Fastrada arranges the murder of Charles, and Pippin falls victim to her plot ('Spread a Little Sunshine').
While Charles is at Arles, Pippin murders him, and becomes the new king ('Morning Glow'). The Leading Player mentions to the audience that they will break for now, but to expect a thoroughly thrilling finale. Act 2 Act 2 begins with Pippin trying his best to grant the wishes of as many people as possible. But he realizes that it is impossible to keep everyone happy. Pippin realizes that neither he nor his father could change society and seemed forced to act as tyrants. He begs the Leading Player to bring his slain father back to life, and the Leading Player does so as Charlemagne nonchalantly comes back to life and mildly scolds Pippin.
He feels directionless until the Leading Player inspires him ('On the Right Track'). After experimenting with art and religion, he falls into monumental despair and collapses on the floor.Widowed farm-owner Catherine finds him on the street, and is attracted by the arch of his foot ('And There He Was') and when Pippin comes to, she introduces herself to Pippin ('Kind of Woman').
From the start, it is clear that the Leading Player is concerned with Catherine's acting ability and actual attraction to Pippin — after all, she is but a player playing a part in the Leading Player's yet-to-be-unfolded plan. At first, Pippin thinks himself above such boring manorial duties as sweeping, repairs, and milking cows ('Extraordinary'), but eventually he comforts Catherine's small boy, Theo, on the sickness and eventual death of his pet (“Prayer for a Duck') and warms up to the lovely Catherine ('Love Song'). However, as time goes by, Pippin feels that he must leave the estate to continue searching for his purpose.
Catherine is heartbroken and reflects on him, much to the Leading Player's anger and surprise ('I Guess I'll Miss the Man').All alone on a stage, Pippin is surrounded by the Leading Player and the various troupe members. They all suggest that Pippin complete the most perfect act ever: the Finale.
They tell Pippin to jump into a box of fire, light himself up, and 'become one with the flame.' Pippin is reluctant at first, but slowly loses resistance ('Finale'). He is stopped by his natural misgivings and also by one actress from the troupe—the woman playing Catherine. Catherine and her son Theo stand by Pippin and defy the script, the Leading Player, and the Troupe. Pippin comes to the realization that the widow's home was the only place where he was truly happy ('Magic Shows and Miracles'). Having experimented with every possible path to fulfillment, he feels humbled, and realizes that maybe the most fulfilling road of all is a modest, ordinary life. He comes to the conclusion that, while 'settling down' may at times be mundane and boring, 'if he's never tied to anything, he'll never be free.'
The Leading Player becomes furious and calls off the show, telling the rest of the troupe and even the orchestra to pack up and leave Pippin, Catherine, and her son alone on an empty, dark and silent stage, yelling at Pippin, 'You try singing without music, sweetheart!' Pippin realizes that he has given up his extraordinary purpose for the simplest and most ordinary life of all, and he is finally a happy man. When Catherine asks him how he feels, he says he feels 'trapped, but happy, which isn't bad for the end of a musical comedy. Extended ending Some newer productions of Pippin, including the 2013 Broadway revival, have featured an extension to the original ending. The 'Theo ending' was originally conceived in 1998 by Mitch Sebastian. After the troupe shuns Pippin for not performing the grand finale, and he avers his contentment with a simple life with Catherine, Theo remains alone onstage, and sings a verse of 'Corner of the Sky,' after which the Leading Player and the troupe return, backed by the 'Magic to Do' melody, implying that the at the heart of the play is part of a cycle and will now continue, but with Theo as the troupe's replacement for Pippin. Current productions vary between the two possible endings, though Schwartz himself has expressed his preference for the newer ending.
The first act originally ended after Charles came back to life before 'On the Right Track' until the Broadway revival. The original ending showed the Troupe attempting to perform the finale before Pippin unexpectedly exits the stage. The Leading Player then angrily reassures the audience that the performance would continue.Songs Though Pippin is written to be performed in one act and its single-arc structure does not easily accommodate an intermission, many performances are broken into two acts. In the two-act version currently licensed by Musical Theatre International, the intermission comes after 'Morning Glow,' with an Act I finale – an abridged version of 'Magic to Do' – inserted after Charles' murder.
As with the new ending, the intermission can be added at the director's discretion without additional permission required. The 2013 Broadway revival is performed with an intermission.Original run.