Pippin

[bostonman]

I have to assume your post is not serious or that you know very little about the theater because there is hardly a word in it that reflects any version of reality.

 

I work in musical theatre. I have never met Schwartz, but I know many people that have worked with him first-hand (including a slew of actors and musicians in Boston who worked with him to present a revision of his show The Baker's Wife, and also a former student of mine who was in the cast of last season's revival of Godspell). And all you need to do is check his website for lots of discussions on the writing of Wicked, with plenty of interesting and personal info, but nothing about a gay slant on the show. I trust I'm much closer to reality than you are, sir.

 

And if by chance you're questioning Schwartz's own sexuality, well, I really don't know what he does in his private time, but it's common knowledge that he's married to a woman and has 2 kids (his son Scott has quite a theatre career of his own). If you're trying to intimate that he's gay, I think that's more slander than reality.

[operalover21]

I work in musical theatre. I have never met Schwartz, but I know many people that have worked with him first-hand (including a slew of actors and musicians in Boston who worked with him to present a revision of his show The Baker's Wife, and also a former student of mine who was in the cast of last season's revival of Godspell). And all you need to do is check his website for lots of discussions on the writing of Wicked, with plenty of interesting and personal info, but nothing about a gay slant on the show. I trust I'm much closer to reality than you are, sir.

 

And if by chance you're questioning Schwartz's own sexuality, well, I really don't know what he does in his private time, but it's common knowledge that he's married to a woman and has 2 kids (his son Scott has quite a theatre career of his own). If you're trying to intimate that he's gay, I think that's more slander than reality.

 

Sound and fury signifying nothing .... there's a reason that a 40 plus year career has not resulted in a single Tony award for Mr. Schwartz, other than his 3rd rate writing. His over-the-top childish queen reactions to not winning are legendary and very well known as is much else.

[bostonman]

there's a reason that a 40 plus year career has not resulted in a single Tony award for Mr. Schwartz, other than his 3rd rate writing.

 

As if a Tony award really means all that much? The awards (and nominations) have become so arbitrary, and IMO don't really reflect quality of art anymore. And he has plenty of recognition without that anyway.

 

In any case, I think we both have more important things to do than to argue about your feelings for Schwartz - the man or his music. I'd like to put this conversation to rest before it gets much uglier. Thank you.

[operalover21]

As if a Tony award really means all that much? The awards (and nominations) have become so arbitrary, and IMO don't really reflect quality of art anymore. And he has plenty of recognition without that anyway.

 

In any case, I think we both have more important things to do than to argue about your feelings for Schwartz - the man or his music. I'd like to put this conversation to rest before it gets much uglier. Thank you.

 

I'm not the one arguing. You're just trying to deny reality and truths that everyone on Broadway is well aware of. No problem. That's your choice. It's not an argument who only one person has that view

 

Peace and have a nice day!

[bostonman]

I'm not the one arguing. You're just trying to deny reality and truths that everyone on Broadway is well aware of. No problem. That's your choice. It's not an argument who only one person has that view

 

Peace and have a nice day!

 

Everyone on Broadway?? Can we say hyperbole, whatever the hell it is that you're talking about?

 

I'm not denying anything. If there are things I'm not aware of, that's a different story. But I still think this sounds like some personal gripe. And nothing you can say here will change that, so you might as well just give up trying.

 

Peace.

[operalover21]

Everyone on Broadway?? Can we say hyperbole, whatever the hell it is that you're talking about?

 

I'm not denying anything. If there are things I'm not aware of, that's a different story. But I still think this sounds like some personal gripe. And nothing you can say here will change that, so you might as well just give up trying.

 

Peace.

 

Dude, you even realize that the only one trying to "change anything" is you? LOL. I must admit I do enjoy watching you spin around like a top!

[bostonman]

Dude, you even realize that the only one trying to "change anything" is you? LOL. I must admit I do enjoy watching you spin around like a top!

 

"Dude" is not my name, and I ain't trying to change a thing. As for spinning like a top, that might be for a different thread altogether lol.

 

How about a nice game of chess? ;-)

[+ Gar1eth]

Personally I love Wicked too. Now that doesn't mean I don't have problems with it. But it's not the music. It's the book. I think Madame Morrible becomes 'Wicked' all of a sudden without any real transition- and I also think the Wizard character is a bit undefined on whether he is really evil or just on the weak side morally.

 

But the songs I love them. And yes I can still sing many of them. ' No one mourns the wicked. ... Goodness knows we know what goodness is... The Wicked Die Alone'. I like the song in and of itself- but maybe with me being so solitary- the song strikes a chord in me. I don't think I'm Wicked- but I very much fear this will be my fate. However I like many of the other songs too-Popular, Defying Gravity, What Is This Feeling, I'm Not That Girl.

 

In conclusion, I can still sing 'scores' of songs from both Pippin and Wicked. So again- each to his own. But please, for those of you who don't like the shows, ' don't rain on my parade' (I can sing songs from Funny Girl too;)).

 

Gman

[+ Gar1eth]

Pippin Video On GMA

 

Enjoy!!

 

http://abcnews.go.com/m/video?id=19241490

 

Gman

[Cooper]

Enjoy!!

 

http://abcnews.go.com/m/video?id=19241490

 

Gman

 

Gman, When I click on your link I don't see a video on Pippin but an ABC list of top news stories.

 

Coop

[leeper]

Saw "Pippin" Tuesday night and thoroughly enjoyed it. Andrea Martin had the audience in the palm of her hand. One of the circus players - Orion Griffiths - does amazing feats and is built like a god. On Monday night, he won the Broadway Beauty Pageant, a benefit for the Ali Forney Center. Although Andrea Martin was one of the judges, the audience determined the winner. The other pageant "judges" were Michael Urie and Billy Porter. They couldn't take their eyes off Orion whenever he was on stage. All were sad that he is straight and married. Back to "Pippin" - one can discuss the merits of the music and the level of accomplishment of Stephen Schwartz ad nauseum. The fact is the show was damn entertaining and yes, I not only remembered the songs, I was singing them on the way out.

[+ sf westcoaster]

Saw this Wednesday and enjoyed every minute. Yes the story is weak and almost non-existent and the score may not be the best or most memorable but the production is so outstanding that any weakness can and should be overlooked. This revival deserves all of the raves and accolades it is getting. A forty year old show is a hit and rightly so!

[+ Gar1eth]

Saw this Wednesday and enjoyed every minute. Yes the story is weak and almost non-existent and the score may not be the best or most memorable but the production is so outstanding that any weakness can and should be overlooked. This revival deserves all of the raves and accolades it is getting. A forty year old show is a hit and rightly so!

 

I'll admit the story is on the light side-Boy Graduates From College and wants to find himself; goes to war;kills father and takes over his job; finds out Dad wasn't doing that bad a job after all; frolics in the field with women ( and men); finds an ordinary woman; runs away from ordinary life; realizes he wants an ordinary life.

 

Actually the book isn't that bad at all come to think of it. But yes indeedy- many of the songs are great!! I can still sing them a month later- of course I could have sung them prior to seeing the show too. The Score has always been one of my favorites.

 

Gman

[+ Gar1eth]

Gman, When I click on your link I don't see a video on Pippin but an ABC list of top news stories.

 

Coop

 

REALLY- how interesting - when I click on the link with my IPhone, I get a headline of 'Pippin cast brings Broadway to GMA' or something like that.

 

Gman

[bostonman]

There's been a 'sneak peak' of the new cast recording on the web (link below); I listened to it all today and have to say I was very impressed. I can quibble with things here and there, but on the whole, it's a solid, tight, well-engineered recording, and I really like the new orchestrations/arrangements. As I've said, I'm not a huge fan of the show itself as a piece of theatre, but musically speaking, this recording makes a very good case for the production. A pleasant surprise.

 

http://popwatch.ew.com/2013/05/28/pippin-broadway-cast-album-exclusive/

[+ Gar1eth]

Pippin Cast Recording Is Now Out

 

[video=youtube_share;MAHDP6PRW7U]

 

Gman

[+ nycman]

Saw it last week.

 

Bad and boring score.

 

Not one song worth remembering.

 

Worse storyline.

 

That's just Pippin.....

 

Nonetheless, Andrea Martin did an amazing job and stopped the show.

 

Patina Miller did an impressive impersonation of Ben Vereen as the Leading Player.

 

The dancing in this production is upstaged by the acrobatics. So-so dancers

doing Fosse inspired routines, makes you feel like you’re watching a bad episode

of "Dance Moms" through most of the show. The acrobatics are impressive,

but really have nothing to do with the story.

 

All in all though it's wonderful production of a dud show.

 

See if you can get discount tickets. Good luck because it's going to sweep the

Tony's. Mostly because everything else sucks so badly though......

 

How's that for a confusing review?

[+ Gar1eth]

Saw it last week.

 

Bad and boring score.

 

Not one song worth remembering.

 

Worse storyline.

 

That's just Pippin.....

 

Nonetheless, Andrea Martin did an amazing job and stopped the show.

 

Patina Miller did an impressive impersonation of Ben Vereen as the Leading Player.

 

The dancing in this production is upstaged by the acrobatics. So-so dancers

doing Fosse inspired routines, makes you feel like you’re watching a bad episode

of "Dance Moms" through most of the show. The acrobatics are impressive,

but really have nothing to do with the story.

 

All in all though it's wonderful production of a dud show.

 

See if you can get discount tickets. Good luck because it's going to sweep the

Tony's. Mostly because everything else sucks so badly though......

 

How's that for a confusing review?

 

I disagree with all but two points- Andrea Martin was amazing. And I didn't get to see Patina Miller as she was out when I saw it. As for the circus performers- the whole thing is supposed to be a troupe of traveling players. Why can't the troupe be a circus?

 

And I like most of the songs.

 

 

Gman

[bostonman]

As for the circus performers- the whole thing is supposed to be a troupe of traveling players. Why can't the troupe be a circus?

 

And I like most of the songs.

 

 

Gman

 

I do too. ;-)

 

As to the first question in the quote, I agree - save for the fact that the majority of the lyrics to "Magic To Do" are specific to theatre, and to the type of show the audience is about to see. Schwartz might have missed an opportunity here to rewrite the song with more circus-themed images (he's rewritten lyrics before - the prologue to Godspell, some lyrics in The Baker's Wife, lyrics for his songs in Working, etc). Maybe he considered it and felt it wouldn't pay off - maybe he was never consulted. Paulus may just have felt that the audience would make the leap without a problem.

 

I haven't seen the production, so I can't comment specifically as to whether the circus concept upstages the show itself - I do see where that could be possible, especially with a show whose plot is as slight as this one. (To compare, i think Taymor totally swamped the poor little story of The Lion King with her stupendous visuals - it's all superbly done - even though I found I really was getting tired of all the theatrical eye-candy by Act II - but even the basic story that *is* there got lost in all the pageantry and puppetry.) But I think it's probably a more plausible way to stage the show than a lot of the updated "regietheatre" productions that opera directors foist upon us now, which often seem to me to be more about a cocky director figuratively masturbating on stage than about telling a comprehensible story. I give Paulus credit for at least trying to find a concept that fits with the tone of the piece.

 

I don't understand all the vitriol against the score, though. But I don't feel like arguing that either. I just don't see why it needs to be attacked.

[actor61]

"Pippin" is a show that falls apart without spectacle to mask its shortcomings, so I think what Paulus has done with it is brilliant. I played the title role in various productions in the 1970s and early 1980s and loved doing it but there's not much to hang on to as an actor. I personally think the score is lovely and I especially enjoyed singing "Love Song" and "Extraordinary". Fosse really had it right when he staged it and Paulus and Chet Walker have expanded brilliantly on the original concept. But if you try to dig deeply into the story or its philosophy, you won't come up with much, and I think that's fine. It's a musical that entertains wonderfully and audiences always adore it. You get your money's worth with "Pippin" and I don't think you always do with other Stephen Schwartz musicals.

[sfguy]

I love Pippin! Well the music anyway. I've never seen it staged before. I can understand why some people find it boring. On the whole the music is as Broadway-y as most musicals, but the music from the show is definitely among my favorites.

[N13]

Saw the show last night from the front row mezzanine. Summing it up in one word, the word is disappointing! To start Andrea Martin was supposed to end her run in September which is why I got the tickets for August....Surprise! She has already left the show. As has Orion. Tovah Feldsha took her place and did an acceptable job...but it wasn't Andrea.

 

The whole show seemed to lack energy. I saw the original 5 times and enjoy the DVD with Ben Vereen and William Katt on a regular basis. The show already seems tired. 'Chicago' after a thousand years, is still tight and full of energy so there is no excuse for the show losing any edge it had.

 

Contrary to what others, including the Tonys, are saying Patina Miller is not Ben Vereen. I wanted to pull her head up throughout the whole show. Vereen was 'snakelike' and sexy. She is just pushy and boring....imho.

 

The show is actually a small show and when directed by Fosse it was a little sparkling gem. This production is overblown and I am so sorry that I spent my money on it.

[BgMstr4u]

Oh, come on N, tell us how you really feel!

 

More seriously, one serious Broadway trend for some time has been the resurrection of shows from days of yore. Some of these are absolutely terrific -- South Pacific at Lincoln Center is one example. Others not so much. I wonder if there are identifiable factors at work. My experience is far from comprehensive, but I wonder if one factor might be the extent to which the show is re-conceived. The recent South Pacific was, as far as I could tell, absolutely faithful to the original, within the limits of a far different stage environment. Was the Pippin re-conceived or faithful? Would that have made a difference? What about other shows?

[N13]

I think that the 'public' has come to expect bread and circuses to intelligent, emotionally challenging, thought provoking entertainment or just plain entertaining ("70 Girls, 70" comes to mind). The standing ovation has become trite and meaningless and that depresses me greatly.

 

The cost of producing a Broadway musical has escalated to the point that, 'If it isn't BIG, it doesn't have much of a chance". I have been going to Broadway musicals since the early 60's and have seen a huge number of great shows....also a huge number of successful shows that did absolutely nothing for me. Ethel Merman in "Gypsy", Gwen Verdon in 'Redhead," Streisand in "Funny Girl," these were standing ovations. Last night's standing ovation (sans moi) was a travesty and cheapens the great ones.

 

I think that BgMstr is correct...faithful is usually better. To change something simply for the sake of changing it is lazy and dumb (imho). I am put in mind of the new (a bunch of years ago) production of "La Traviata" at the NYC Opera. The big party in a gay leather bar? A cell phone being brought to Armand on the tennis court? WHY??? One of the only exceptions I can think of is the current production of "Chicago." The original was ok, but nothing special for me. This one may well be my favorite Broadway musical of all of those that I have seen. The exception that proves the rule?

 

Sorry for my rant, but I am so sick of spending good money for mediocre!

[actor61]

I'm really torn about revivals too. So many of them are such disappointments. What comes to mind most recently are the 2 revivals of "Follies", one with Blythe Danner, etc., the other with Jan Mawell. - both productions dreadful. "Follies" is a flawed show with a magnificent score and I can understand why producers want to revive it from time to time but if a show doesn't work production after production, there's usually a good reason. Elaine Stritch once said that she thought revivals were a great idea because these are classic shows that each generation needs to see, and I agree with the point of view, but is making them bigger, splashier, more expensive and louder really doing justice to the show? I was not an enthusiast of the revival of "South Pacific" at Lincoln Center, although it is one of my all time favorite musicals because it was made so dark. I detested Danny Burstein as Billis and the macho swaggering and Brando mutterings of Matthew Morrison as Cable really bugged me. I know what they were going for but it was really out of period. Maybe if we want new generations to learn about these musicals, we should just play the original cast albums for them. Nothing tops Martin/Pinza/Tabbert in the original "South Pacific", Smith, Collins, DeCarlo etc. in "Follies", Merman in "Gypsy", Raitt in "Carousel". Lansbury came very close to completely recreating Mama Rose in the 1970's revival of "Gypsy" and it's a recording I listen to over and over again but that's rare. At the risk of being called over critical and too much of a purist, I didn't like Tyne Daly, Bernadette Peters or Patti Lupone in their respective interpretations of the role. Daly couldn't sing, Peters sang too much, and Lupone tried too hard. But that's just me.

 

I have seen summer stock and dinner theatre productions of these old chestnuts that were better than the B'way revivals and I think they were better because there were no frills. They simply put on the shows and let them stand on their own merits. They had good singers, good dancers, good bands, good direction and fulfilled the mission of being entertaining. I once saw a dinner theatre production of "A Funny Thing Happened on the Way to the Forum" in Ohio that really gave the Nathan Lane revival a run for its money. One of the funniest evenings I've ever spent in a theatre - and the dinner wasn't bad either!