Skylight’s ‘Pippin’ a feat of song and dance
The Skylight Music Theatre production of “Pippin” that opened Friday evening at the Broadway Theatre Center is a feast of song and dance.
The musical “Pippin” is a child of the early 1970s, closely related to “Godspell,” “Jesus Christ Superstar” and “Hair.” But “Pippin” transcends the ‘70s more gracefully than its cousins, thanks to stellar songs (Stephen Schwartz) and great theatrical sense in its construction and storytelling.
A fictionalized account of the life of Pepin, son of King and Holy Roman Emperor Charlemagne, delivered by a troupe of performers, the show finds the title character searching for a life of extraordinary meaning.
This production, directed by Skylight Artistic Director Ray Jivoff, features strong, versatile singer/actors creating well-defined characters and high-energy, focused performances throughout the company.
As Pippin, Lucas Pastrana blends passion and naiveté through his polished voice and easy control. Krystal Drake as the Leading Player, mixes strength and playfulness with a dark, controlling undercurrent and a vocal balance of energy and edge.
Elaine Parsons Herro (Berthe) raises the roof with a spot-on “No Time at All.”
Todd Denning’s wise, savvy Charlemagne is built of fine, Shakespearian theatrical instincts. Alex Campea creates a delightfully dense, towering Lewis, beside Kathryn Hausman’s wonderfully wily, manipulative Fastrada.
Natalie Ford (Catherine) creates a perfect, warm, emotional balance for Pippin.
Christal Wagner’s choreography extends past several vigorous, stage-filling dance numbers, including a brilliant battle scene, to a palette of movement woven into even the smallest musical numbers, helping to define characters throughout the show.
Keith Pitts’ simple sets of movable scaffolding and theatrical touring trunks and Karin Simonson Kopischke’s scrappy, partly period costumes serve the story beautifully.
The show’s largely backlit first act, which includes some great shows-onscrim effects, employs a floor-to-ceiling lighting grid on the stage’s back wall. Lights aimed out at the audience create some striking, hot effects, but also make several scenes difficult to watch for audience members staring into those lights.
David Bonofiglio directs a small, high-energy pit band.