Arizona Repertory Theatre was hoping for magic with its production of “Pippin.”
It didn’t happen.
The musical fell flat at Wednesday’s opening.
Part of that is the fault of the musical itself: While most of the songs are engaging, the book is definitely not.
“Pippin” is a fable about a young man, the son of Charlemagne, who is in search for meaning in his life.
In this play within a play, a troupe of performers who do magic and dance a bunch intend to help him find that meaning as they lead him through a journey that includes war, debauchery and patricide. Charming, no?
Actually, the songs, by Stephen Schwartz of “Wicked” fame, are charming. It’s hard not to be taken by such tunes as the lovely “Corner of the Sky,” the funny “No Time at All” and the gorgeous “Morning Glow.”
There’s no doubt that the University of Arizona students who make up this cast are loaded with talent. Tony Moreno, who takes on the title role, has all the right stuff to make it as an actor, including a gorgeous voice and the acting chops.
Tristan Caldwell played his father, Charlemagne, with a wink wink and a sassy sense of timing. He was a highlight.
Marina Devaux had the audience in her hands as she sang “No Time At All,” a ditty that she sings to her grandson, Pippin. In it, she beseeches him to grab hold of life “(Oh, it’s time to start livin’/ Time to take a little from this world we’re given / Time to take time, ‘cause spring will turn to fall / In just no time at all”). It’s an infectious tune that at some point the audience is encouraged to sing along with. And they do.
And Sofia Gonzalez provided a grounding warmth and a beautiful voice as Catherine, the woman Pippin eventually falls for.
Director Christie Kerr made sure there was a cheeky self-awareness to this production, which is really about the only way this play can work.
Her choreography pays homage to Bob Fosse, who directed and choreographed the original 1972 production. But the dance was never fully integrated into the play — often, it felt as though all the action stopped so the players could reshift into dance mode.
And there was a sense of incoherence about this production. Again, maybe that’s the script — it’s hard not to keep wondering, “Why? Why?”
On top of that, Pippin’s existential angst just isn’t that compelling, nor is his quest to find meaning. Part of you wants to take him by the shoulders and insist he look within, read a book or have an in-depth conversation. But that would be even less compelling.
This is an unusual misstep by Arizona Repertory Theatre. On the other hand, it’s a great chance to hear some fine tunes sung by talented performers.
