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Fall theatre pippin1/21/2024 ![]() ![]() He seemed to somewhat lack how to artistically develop the show to accomplish the intent and purpose of the writers. Without them, much of significance and creativity of the show is eliminated. The BW interpretation is performed in two acts, which, in my opinion, breaks the flow of the show. The magic aspect of the show is so important that in its most recent Broadway revival, it was done as a Cirque de Soleil-like production. Why director Nathan Henry decided to eliminate all of the magic tricks and effects is a mystery. The original Broadway production was performed in one act. The new ending was included in the 2013 Broadway revival and it altered the meaning of the original show. It was not conceived until 1998, when Mitch Sebastian collaborated with Schwartz in an alternative concept for the show. Ironically, as the script evolved, Schwartz has said that “not a single line or musical note from that Pippin made it into the final version.” An example of the evolution of the script is the “Theo ending,” used in the BW show. Originally conceived by Schwartz when he was a student, it was performed by Carnegie Mellon University’s Scotch’n’Soda theatre troupe. A 2013 revival featured BW grad Sierra Renee as the leading player. Irene Ryan of Beverly Hillbillies fame played Berthe. The original production starred Jonathan Rubinstein as Pippin, while the Leading Player was portrayed by Ben Vereen. Pippin contains one of my most admired musical theater songs “Corner of the Sky,” Pippin’s “I want” song, which not only tells us about the character, but reveals the major meaning for the script. I had an instant love affair with the show. In fall 1971, while chaperoning a group of college students to New York, I saw Pippin, the Stephen Schwartz (music and lyrics), Roger Hirson (book) and Bob Fosse (director/choreographer) musical.
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