Edinburgh University Footlights breathes new life into classic musical Pippin
Edinburgh University Footlights brings Stephen Schwartz’s beloved musical Pippin to vibrant life in this spectacular student production. The show follows young prince Pippin on his quest for meaning and fulfilment. Guided by the mysterious Leading Player, Pippin explores war, love, politics, and simple living, all in search of his true purpose.
The production opens with a sensational, dazzling rendition of Magic To Do, setting an electrifying tone for the rest of the performance. This group number highlights the ensemble’s energy and talent, at once drawing the audience into Pippin’s world of wonder and possibility.
The cast of Pippin is led by the brilliant Dan Bryant, who imbues the titular character with a naive, quirky insecurity that makes us root for his success and self-discovery. The audience are won over by his stumbling through life’s hurdles, which resonates deeply. Bryant’s vocals effortlessly convey Pippin’s inner turmoil and aspirations.
Minnie Cross, as Lewis’s mother, revels in the machinations typical of ambitious and villainous fairytale mothers seeking the best for their children. Her performance is visceral and catty, with silky, sassy vocals that masterfully portray a character often underestimated by the men around her.
Gemina Iseka-Bekane shines as the Leading Player, portraying the character with a beguiling mix of sex appeal, humour, and charm. As Pippin’s otherworldly guide, her powerhouse jazzy vocals are full of depth, even while executing complex choreography. Glory is a stunning, goosebump-inducing example of her epic breath control and vocal prowess. Iseka-Bekane’s acting range allows her to seamlessly transition from a supportive influence to a revealed toxic burden on Pippin, creating a gradual and surprising character arc.
Ewan Robertson’s Charles provides delightful buffoonery and slapstick comic relief, coupled with powerful vocals that match his authoritative position as king and cruel ruler. His eccentric, know-it-all attitude shines during War is a Science, where quick lyrics and ensemble choreography elicit chuckles from the audience. Robertson’s performance evokes comparisons to Hamilton’s King George III while keeping its own rough-around-the-edges unorthodoxy.
Allison Lavercombe delivers a gentle yet impassioned performance as Catherine, offering moving reflections on widowhood and embracing each new day. Her heavenly vocals trickle through the air as she glides around the stage, yearning for something more while finding solace in Pippin’s love. The intimacy between Lavercombe and Bryant, expertly directed by Rebecca Mahar, feels genuine, infatuating, and comfortable.
Amy Stinton’s direction is exhilarating, creative, and daring, allowing each cast member to shine individually as well as collectively. Her vision brings out the moral core of the story while highlighting each performer’s strengths.
Rose Robert’s choreography, aided by Greta Abbey and Amrit Gill, injects professional pizzazz into every step, expertly executed by the talented ensemble. The dance sequences seamlessly blend with Tom Beazley’s mood-enhancing lighting, particularly effective in the blood-soaked battle scenes. The lighting becomes a character, visually standing for Pippin’s internal struggle and the manipulative forces surrounding him. Roberts pays homage to Bob Fosse’s iconic style while infusing fresh, invigorating elements for modern audiences. Her use of stillness and silence amplifies the impact of war sequences and big numbers.
Orly Benn’s portrayal of Berthe, Pippin’s grandmother, is a comedic highlight. Her performance of No Time at All, complete with audience sing-along, offers sage advice to both Pippin and spectators, reminding us that it is never too late to start living.
Emma Bland is endearing as Theo, Catherine’s son, playing a crucial role in the show’s conclusion and symbolising future generations caught in the Leading Player’s cycle.
The production’s musical numbers are consistently impressive, but Morning Glow during Pippin’s coronation scene stands out as a particular highlight. The fantastic dance numbers and incredible harmonising in this piece are fully fuelled with spirit, energy, and drama, elevating the emotional impact of this pivotal moment in Pippin’s journey.
Falk Meier’s musical direction, supported by Gabby Blackie, Ciara Briody, and Benji Castella McDonald, is nothing short of legendary. The 12-piece band breathes life into Pippin’s journey, seamlessly navigating the show’s eclectic mix of musical genres and evoking profound emotional responses.
The production’s use of audience participation and fourth-wall breaking adds an engaging meta-layer to the performance. It underscores the themes of societal pressure and the search for fulfilment, making the audience feel intimately connected to Pippin’s journey.
Holly Stephens’ set design makes the most of a typical Fringe venue, offering levels, dynamism, and interesting use of space in Pippin. Her creative approach adds to the overall visual impact of the production, proving that innovative design can overcome the limitations of a smaller venue.
In conclusion, Edinburgh University Footlights’ production of Pippin is a tour de force of musical theatre, packed with fun, feeling, and thought-provoking moral questions. This reimagined coming-of-age story, brought to life by an exceptional student cast and crew, showcases the power of engaging storytelling and leaves the audience both entertained and introspective. It is a testament to the talent and dedication of the university’s performing arts community, proving that student productions can rival professional performances in quality and impact.