Pippin - 25th February 2012

First opening at the Imperial Theatre, New York in 1972, "Pippin" ran for 5 years and nearly 2000 performances. This was composer's Stephen Schwartz follow up to Gospell and his reputation as one of the bright lights of American musicals was enhanced. "Pippin" had a brief West End run in 1983 but it wasn't until "Wicked" opened here in 2006 that Mr Schwartz had a successful show on this side of the pond.

The Menier Chocolate Factory has a reputation of interesting and interpreted revivals with " A Little Night Music", " La Cage Aux Folles" and " Sunday In The Park With George" grabbing handfuls of awards. In recent months I have rather enjoyed their quirky productions of "Paradise Found" and "Road Show" and I can now add " Pippin" to that list.

The title character, the son of the despotic ruler Charlemagne, is constantly trying to find his role in life, trying war, love, religion, politics and power. And that is just the first half. I prophetically mentioned to my companion in the interval " It is good but I have no idea where it will go as it seems to have covered everything already". Sadly, I was right, it didn't really go anyway in the second half apart from a cosy predictable ending.

This appears to be the decade for the concept show. Last month my brain cells were
challenged by Ian Rickson's production of "Hamlet" at the Old Vic and today Mitch Sebastian chose to unveil this fairytale type production within the remit of Videogame, starting as you entered watching Pippin tapping away at his console.

I am not of the computer game generation and although I was impressed by the graphics used I wasn't convinced by the idea that every adventure was a level of the game.

The songs were good without being memorable but the performers certainly gave everything they had. Although I enjoyed it I am struggling to understand how it was such a big hit first time around. I assume the feel-good factor would have helped the Americans recover from the Vietnam and Watergate shocks and no doubt the present of Bob Fosse choreography would have been a factor. Nowadays, we are faced with the recession but the underlying moral of knowing your place and settle for what you have seems a little stiffling.

Harry Hepple was impressive in the title role providing a degree of vulnerability and innocence in contrast to Matt Rawle's all knowing and smarmy Lead Player. Having heard Lord Lloyd Webber advertising his latezt money-making venture, looking for a new Jesus ( aren't we all), I suggest he look no further than the young Mr Hepple. With the show stagnating at the break opportunities for the supporting cast to prosper similarly disappreared. Ian Kelsey's dominating King was barely seen and Frances Ruffelle's talents were wasted. The only person to take advantage of a cameo was Louise Gold who blew the roof off i her one scene and only song " No Time At All".

An interesting and unusual show but no award winner.