PIPPIN ☆☆☆☆
The Eagle is large victorian pub in the gay village of Vauxhall in London. Queerguru last visited it when they had gay wrestling and the floors were sticky! It now boasts a New York inspired makeover and is home to club nights such as the legendary Horse Meat Disco. With club nights banned, however, the pandemic has created opportunities for nimble producers such as PeterBull/Lambco (who also brought us the superb Tickle The Musical) and the back yard has now become The Garden Theatre hosting the musical Pippin – now in its extended run to the 11th October due to ‘overwhelming demand’ for tickets.
Written in 1972, Pippin is a bit of a curiosity – a play within a play ‘We’ve got magic to do… Just for you, We’ve got miracle plays to play…’ featuring a tyrant king Charlemagne (Dan Krikler) and his son, Pippin (Ryan Anderson), who is on a quest to find meaning, significance and purpose to his life.
The score is pleasantly melodic, if a bit forgettable, including songs such as ‘Magic to Do’ and ’Corner of the Sky’, from four-time Grammy winner, three-time Oscar winner and all round musical theatre giant Stephen Schwartz who had just written ‘Godspell’ and would go on to write the behemoth ‘Wicked’.
The show directed by Steven Dexter, was originally directed by Bob Fosse and there are delightful echoes of his work in the choreography particularly in the number ‘Glory. It’s a small but evenly talented ensemble tonight, but of particular note is Joanne Clifton who shines in her big numbers (‘No Time at All’ as Berthe and ‘Spread a little Sunshine’ as Fastrada). She is a World Professional Ballroom Champion and brings this awesome ability to the fore, wearing a double fringed suede skirt which becomes nothing short of mesmerising when worn by a master at work.
The set design (by David Shields) is bright and jolly – the walls are draped with colourful tie dye and batik ribbons and Tibetan prayer flags set it firmly within its time.
The lighting (by Richard Lambert) is inventive and festival style with endless festoon but serves the production well with an extraordinary amount of kit tucked behind foliage and under roof beams.
There is piano accompaniment and the sound is nicely balanced alongside the performers who are un-miked, although this meant they sometimes struggled against traffic noise.
Pippin is a favourite with drama schools and amateur groups due to the large number of characters – this production has just six performers on a tight traverse stage. Each actor tonight is talented and committed (when Ryan Anderson leaps you fear for the buildings pillars!) but for this show, more than many, it cries out for a full cast and a larger end on space – Fosse’s work loses impact when viewed in the round.
It is of course a socially distanced performance with an audience of around 50 in bubbles of 1-6 people. Masks are firmly on and hand sanitizer liberally dished out with, it has to be said, free ice cream for those on a press ticket. Yum! Despite a few necessary compromises, this is without doubt a noble production and if this is the future of theatre – count me in.
REVIEW : JONNY WARDJonny Ward, Queerguru Contributing EDITOR is a drama graduate but has worked backstage for many years at venues such as The ROYAL ALBERT Hall, The 02, Southbank Centre and is currently at The NATIONAL THEATRE. He lives in Hoxton, London and is delighted to check out the latest, the hottest and the downright dodgy in queer culture for Queerguru. (P.S. He is currently single) @JonnyWard360
| Editors Note : When we first asked Jonny Ward one of our Contributing Editors in London to review this production, he dropped all hesitations when he discovered it was at The Eagle! Seriously though we accepted the invitation t review because the Venue adhered to the very strict rule of Social Distancing making for a comfortable and safe environment. We will continue to be selective in what live events that we cover for the safety of all our Queerguru Team and readers too. |
