PIPPIN. To 8 January.

London

PIPPIN
by Roger O Hirson and Stephen Schwartz

Union Theatre 204 Union Street Southwark SE1 0LX To 8 January 2005
Tue-Sat 7.30pm
Runs 2hr 15min One interval

TICKETS: 020 7261 9876
www.uniontheatre.com
Review: Timothy Ramsden 10 December

Some rough ingredients, but by the magic of this theatre, it works.Pippin is a kind of secular Godspell (as, in a sense, is Godspell) - both are mostly about the peace n' love' sixties. Pippin drifts dreamily along. Or would without the diabolical influence of the theatre.

It brings colour to his life but leads him towards the disaster of being what he isn't. The core of Pippin goes missing as he tries to emulate fierce brother Lewis, and dad Charles otherwise, Charlemagne, who brought order through the sword to the post-Roman chaos of early modern Europe.

Pippin discovers that by beating them, you join them. And that life at the top is complicated if you simply want to be nice. Finally, in the Schwartz-approved alternative ending, he settles down with a widow and her son to live his own life, without razzamatazz, at last

There are shortcomings to this production. Singing can be flat and coarse, sometimes more a paraphrase than expression of the musical line. Acting at times is wooden, even given the comic-strip simplicity of characterisation. Choreography is sort-of adequate, but its execution is tentative.

Yet the Union, under a Southwark railway arch, has a down-to-earth atmosphere that goes well with the cast's keen involvement. Many have little to do (the women, especially, are often left on the margins in crypto-punk glam-rags). But it's done with an ensemble zest that, at close quarters, almost wills you into complicity.

The production successfully involves the whole space, creating a sense of empire-like pomp with its banners (held up for Charlemagne, taken down when Pippin tries coming-on the warrior). There are, too, some strong individual moments Charlotte Marisa Moore's widow has recognisable feelings, and a true singing voice. Adam Booth give Charles a comic playing-card king vivacity. Daniel Lane infuses Pippin himself with an optimistic simplicity.

Best of all, at the moral extremes, are Andrew Whitlaw's creepy player (somewhere between a Faustian tempter and Cabaret's Emcee), strongly acted and sung, and Bryony Hannah. As Catherine's duck-loving son Theo, she combines an energy that can, effortlessly, ruffle a bed within seconds with the deep emotions and concentration of childhood.

Pippin: Daniel Lane
Leading Player: Andrew Whitlaw
Berthe: Susan Travers
Catherine: Charlotte Marisa Moore
Fastrada: Sioned Jones
Theo: Bryony Hannah
Charles: Adam Booth
Lewis: Jasper Hone
Ensemble: Tayla Holdaway, Harry Attwell, Nikki Gerrard, Russell Hawkins, Kristi Hellberg, Thomas Hopkins, Natalie Izgol, Peter Stickney

Directors: Ben de Wynter, Sasha Regan
Lighting: Steve Miller
Musical Director: Sam Gosden
Choreography: Sasha Regan, Sally Brooks
Art Design: Sioned Jones
Costume assistant: Annie Nelson
Lighting assistant: Daniel Young

2004-12-13 00:40:23