Vivid rainbow banners on the exterior of the community theater on York Street shout out to Pride Month as summer stumbles its way into historic Gettysburg. Inside, Gettysburg Community Theatre’s “Pippin” — with music and lyrics by Stephen Schwartz and book by Roger O. Hirson — leaps into a circus-inspired evening of song and dance in a classic rock musical that blends pop and folk-style tunes with razzle dazzle.
The winner of multiple Tony awards for its original Broadway production in 1973 and its acclaimed 2013 revival directed by Diane Paulus, “Pippin” was the highest earning Broadway show of its time and clinched Bob Fosse’s career as a director in the original production.
Based loosely on real figures in Medieval history, the musical tells the entirely fictional story of a young prince in existential crisis whose father is King Charlemagne. [In reality, Charlemagne was the King of the Franks who became Emperor of the Carolingian Empire in Western and Central Europe in the eighth century. Pepin (also known as Pippin) was his son.]
The young prince’s quest for the true meaning of his life unfolds onstage as enacted by a traveling troupe of players. The search for self-identity will lead Pippin to his father’s battlefields, to the intrigues of political power and familial betrayal, and to worldly desires, romance, and genuine love.
At GCT, Director Michael Baker, Vocal Musical Director Jamie Bowman and Choreographer Chad-Alan Carr have woven an animated cast.
Act 1 opens with the popular “Magic to Do,” performed by the Leading Player (played by Andrew Metcalf) and the Ensemble, establishing that what the audience will see is a troupe of players performing Pippin’s story through music and dance — a story within a story.
The Leading Player character is not limited to gender nor sexual orientation, and Metcalf portrays his lead role as a flamboyant male in towering red heels and black lace with superb energy and mysterious motives.
From the moment the stage lights rise, Carr’s choreography embraces the challenge of performing Fosse’s iconic Broadway moves — such as his famous jazz hands, signature hip rolls, and sideways shuffling (among others).
The cast’s sexy costumes land as colorfully and engaging as one would expect in a glitzy razzle dazzle show, and Dexter Burke’s dramatic lighting (especially during confrontations when the set turns blood red) and Michael Connelly’s sound sync seamlessly. And all the vocals, as directed by Bowman, consistently ring clear and bright.
When the Leading Player introduces Pippin (Kaleb Smith) as a young actor making his debut with the troupe, Smith’s impressive solo performance of “Corner of the Sky” reveals Pippin’s yearning to find his place in the world and foreshadows many outstanding vocal performances to come.
“Rivers belong where they can ramble, eagles belong where they can fly,” he sings. “I’ve got to be where my spirit can run free.”
Enter Charlemagne to perform “War is a Science” with Pippin and the Ensemble. Michael Krikorian’s gruff portrayal of the powerful king contrasts well with Pippin’s naivety — and with Pippin’s soldier/half-brother Lewis’ comic stupidity.
Kyle Meisner’s physicality and facial expressions as Lewis are quite amusing. And as his conniving mother, Fastrada, Randi Walker’s strong stage presence and pleasing vocals make a very attractive villainess.
But before Lewis and Fastrada perform their shared number “Spread a Little Sunshine” with the Ensemble, Berthe (Charlamagne’s mother beautifully portrayed by Betty Stuart Brownley) commands the stage in a stellar performance of “No Time at All.”
Memorably, she sings, “I believe if I refuse to grow old, I can stay young ‘til I die…”
Act 2 follows the upheaval and conflict egged on by the Leading Player in Act 1. Weary, worn, and disillusioned; Pippin laments the fruitlessness of searching for what he can discover in himself that is “extraordinary” and collapses in despair after failing miserably as King.
When a beautiful and compassionate widow, Catherine (Abbie Mazur-Mummert) discovers Pippin lying in the road, she offers him a chance to rebuild his life, and the plot shifts to discovering pleasures of the flesh and exploring genuine relationships (to the chagrin of the Leading Player).
But of course, the path will not run smooth.
Mummert’s well-performed solo performance of “There He Was” begins this new chapter in Pippin’s journey, one that will ultimately lead to finding meaning in unexpected places.
Catherine’s son, Theo (portrayed by Dexter Walker on Opening Night) also plays a crucial role as Pippin’s perspective shifts, as well as in the startling ending originally conceived by Mitch Sebastian in 1998.
The costumes, lyrics, and lighting turn deliciously dark and foreboding in the “Finale” of Act 2. And as the Leading Player has promised from the beginning of Act 1, the climax is indeed “unforgettable,” just not quite what he had planned.
GCT’s “Pippin” offers a riveting evening of almost 20 enjoyable musical numbers in a journey that should leave one contemplating the complexities of coming of age on the path to true happiness.
Presented by special arrangement with Music Theatre International LLC, “Pippin” continues through June 22 at Gettysburg Community Theatre, 49 York Street. Performances are 2 p.m. Sundays and 7 p.m. Fridays and Saturdays. General admission is $25. For tickets and more information, visit gettysburgcommunitytheatre.org.
Also appearing as the Ensemble are Tea Antigiovanni, Allisa Baker, Jamie Bowman, Alexa Connelly, Kevin Foster, Kyle Meisner, Jenna Ploski, Vanessa Rice, Lindsey Ringquest, Debbie Williams, and Rebecca Williams. Brody Rummel and Avery Walker share the role of Theo with Dexter Walker.
Stage Managed by Vanessa Baker. Photo courtesy of Linda Toki.
