Pippin: Savannah Cultural Arts

It would be an accurate historian indeed who could pinpoint the precise date where Broadway began to turn from traditional, Golden Age-style musicals of Porter and Loesser to the shallow fair of rock operas and Andrew Lloyd Webber. However, it would seem that Pippin, the monumental battle between Stephen Schwartz and Bob Fosse that rivals even Stephen Sondheim in a level of convolution and managed to kill Irene Ryan, was concieved on that very day. Indeed, it seems that continual revisions to the piece have only continually weakened it. Though it is a perennial favourite in community theatre, this can only be because nobody would want it.

And, in many ways, Savannah Cultural Arts Theatre's production of the aforementioned piece is severely limited by a script that is so severely flawed. Regarding its recent revival at the Mark Taper Forum, The New York Times cites the need for a very real, very clear duality in the production of this show. Yet that duality, so essential to understanding a script that has placed all its cards on a single horse, seems to be severely missing from this production. As this is a play about putting on a show (theatre about theatre), the audience needs to see a clear depiction of when we are watching "Pippin: His Life and Times" (the show of the players) and that which is corollary to that. The chorus, or players, are utilized in such an inconsistent way that it is difficult to ascertain precisely what one is looking at in the grand scheme of things, despite some truly beautiful moments. As such, a lack of truly clear delineation and overarching vision combines with a deeply flawwed script. There is a level of surreality possible, but the need for solid craftsmanship becomes all the more pressing in this case.

Savannah Cultural Arts is also not helped in the least by the young man playing the title role of Pippin. Mr. Corey Green plays the role of the player's nightly sacrifice, and aspiringly great prince, with a voice mildly resembling a dialtone and seems to be unable to summon the energy to truly want to become great. There is either a real lack of certainty in this young man (out of which we here at The Savannah Dramaturgy pray he will grow) or he simply "phoned in" this performance to a level that should never be forgiven. In some ways, such an attitude is one of the most dangerous things facing a growing theatrical community, as our institutions largely must have the attitude of "Play or starve."

However, the show is a great deal of fun, particularly thanks to a number of bright points in the cast. Ina Williams, who last swept the community in the Savannah Shakespeare Festival's Shakespeare on Love, is delightful as Catherine, a foot-fetishist widow who has an estate to run and fills Pippin's days with meaningful toil and pregnant moments. Ms. Williams manages to go from gawky and awkward player (who forgets her eyelashes before her big entrance) to a beautified lover who provides a rock to save the soul of Pippin himself. Also worth mention is Gail Byrd in her rendition of Berthe, grandmother of Pippin. Gail, who has turned in effective performances in The Full Monty, 'night Mother, and Catch-22, gives the audience a truly warm depiction of a grandmother giving truly sage advice in the song "No Time At All." Ms. Byrd also manages to balance to prospect of acting at acting while also owning the stage like a seasoned starlet when it is time for the audience participation to end for her big solo.

Particular praise is reserved, however, for Faith Boles as the Leading Player. Ms. Boles turns in a performance that combines the best aspects of a snake-oil salesman and strolling minstrel into a tempting, sexy, and masterful player who is clearly capable of luring cull after cull to their willing damnation. By turns domineering over her unruly charges and beckoning Pippin with the prospect of lasting glory, Ms. Boles stands a good chance of becoming a perenneal favourite of the Savannah stages.

In essence, there is an emasculated and crippled script that needs intensive care in order to try and walk. Though there are bright points, other moments simply limp along through obscurity due to either lack of vision or Mr. Green's lack of enthusiasm. A great deal of fun, but a piece that essentially lives up to its reputation as benign and somewhat emasculated.