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PIPPIN BROADWAY REVIEWS
Opening Night: April 25, 2013
Synopsis: The American Repertory Theatre's production of Pippin is now on Broadway.
Royal heir Pippin is spurred on by a mysterious group of performers to embark on a death-defying journey to find his "corner of the sky."
Pippin has a book by Roger O. Hirson, music and lyrics by Stephen Schwartz, is directed by Diane Paulus with circus creation by Gypsy Snider of the Montreal-based circus company "Les 7 doigts de la main"(also known as 7 Fingers) and choreography by Chet Walker in the style of Bob Fosse.
NEW YORK TIMES REVIEW:
"What do I have to do to make you love me?
This plea throbs as a subtext in every musical that’s made it to Broadway. That is, after all, the impulse that gets actors out of bed in the morning. But the question has seldom been posed as nakedly and aggressively as it is in Diane Paulus’s revival of “Pippin,” which opened on Thursday night at the Music Box Theater."
"A medieval fable that makes a giddy hodge-podge out of Candide and Faust, bulging with sexy circus acts, magic tricks, tuneful early-‘70s pop-rock songs, elementary existentialism and comedy that runs the gamut from goofy and campy through grotesque and bawdy, Pippin shouldn’t work, but it does. Up to a point. Diane Paulus’ Broadway revival of the 1972 musical is massively, almost overwhelmingly entertaining, even if its audacious razzle-dazzle doesn’t mask the limitations of its book. Still, fans of this much-loved show couldn’t ask for a more energized production."
"When director Diane Paulus led a tribe of happy hippies to Broadway in 2009, in her gorgeous revival of Hair, they shattered the fourth wall and invited viewers to join their journey from innocence to knowledge -- a trip that encompassed extremes of decadence and heartache, but somehow left you exhilarated and full of joy."
"There was always something a little corny about Pippin. The original 1972 musical boasted an ebullient pop score by Stephen Schwartz (Wicked), a breakout star turn by Ben Vereen as the emceelike Leading Player, and distinctively Fossean choreography by Bob Fosse. It was the quintessential ''jazz hands'' show, with an inherent theatricality born from its premise: A troupe pulls into town to tell a simple allegory about a young medieval prince and his search for life's meaning."
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