Pippin
at Santa Margarita Catholic

Reviewed on April 9, 2014

Siena Brown
SOCSA Dana Hills
Submitted for publication to Orange County Register

Santa Margarita Spreads a Little Sunshine

When you're born to be extraordinary, is it possible to still appreciate the simple joys of life? In Santa Margarita's recent production of "Pippin", an inquisitive hero asks himself this exact question, and embarks on an epic quest to find the answer.

Set in the medieval court of the great King Charlemagne, the costumes, designed by Joanna Pisano, capture the time-period of the show by appealing to the audience's imagination. When the soldiers go to war ("Glory"), their armor is made from an assortment of ordinary looking kitchen trays, but when they are shown beside the intricate golden crest of the king's chest plate, a spectacular image of a land at battle is formed.

Pisano also features more contemporary styles, ranging from Pippin's simple black jeans to the frayed vests of the bohemian-inspired "With You" dancers. The assorted apparel effectively reminds audiences that although the tale itself is set in ancient times, the aspirations of the characters and the morals presented are timeless.

The plot of the musical follows Pippin (Tyler Cotner), a young prince who yearns to discover ultimate meaning in his life. Cotner carries the show remarkably well, and his complete sincerity is reminiscent of a typical conversation with a friend. Presenting his character with a wide-eyed innocence in Act One, Cotner smoothly develops into a tall-standing, mature adult, able to proudly look the audience in the eyes. By making use of a clear and powerful vocal tone, he is able to echo his character's idealistic dream of finding his very own "Corner of the Sky".

Another notable cast member is the Leading Player (Andrea Martinez), the enigmatic and often unsettling narrator of the performance. Martinez varies her role by applying a smooth, laid-back voice when she attempts to influence Pippin's decisions ("On the Right Track"), and a fierce, smoky growl when she reveals the dark nature of her plans for the young prince ("Finale"). She also makes use of great physicality, taking large, jazzy steps across the stage, and consistently flashing sharp, wide spread fingers and a grin gleaming with guile.

With it's endearing actors, lively costumes, and poignant plot, Santa Margarita presents a truly enchanting production, reminding viewers that the magic of theatre can turn an average evening into one that is extraordinary.

Dalton Young
Tesoro
Submitted for publication to Orange County Register

Magic to see at Santa Margarita

Santa Margarita's production of Pippin brings magic and mystery to the stage with whimsically captivating characters and moments of passion and hilarity that have the audience fascinated from start to finish.

The story follows a young prince, Pippin, on his journey to find his place in the world and discover the meaning of his life. Accompanied by a circus troupe, he finds himself faced with more than just a dangerous adventure, but a struggle to resist the temptation from the voices in his head and their hunger for power and glory.

Tyler Cotner is charming and earnest, attempting to combat the ambiguity of life and find his purpose as Pippin. With an initial twinkle in his eye and glowing smile, Cotner radiates with ardor as he sings "Corner of the Sky" and looks towards his future off in the distance. A notable dynamic display, Cotner gains a more mature tone and solemn look as he progresses and soon discovers that life isn't always about achieving greatness.

A constant seductive smirk and sultry stage presence are characteristic of Andrea Martinez as the Leading Player, Pippin's supposed alter-ego and guide throughout the show. Whether she is delivering an impressive vocal performance or engaging the audience by breaking the fourth wall, Martinez brings a flare to the character that can be seen in each fosse step and sassy remark. She reveals a darker side to her personality as Pippin begins to stray from his course, bearing a menacing scowl and building in anger, finally taking away the magic in a fit of enmity during the "Finale."

JeanneAnn Faris keeps the show upbeat and light-hearted as Pippin's playful grandmother Berthe. In her song "No Time At All" about the changing seasons, Faris' quirky attitude and comical dialogue fill the theatre with laughter and have the audience singing along in their seats.

Costume design by Joanna Pisano and Make-up design by Paige Schuler come together to create a unique presence for each character in the show. Vibrant reds, oranges, and blues, accentuate the players facial expressions and physicality and add an aesthetically pleasing splash of color to the stage to convey the circus atmosphere. Realistic wrinkles and age make-up help to easily distinguish Berthe and King Charles as older characters.

Look beyond the magic and explore the deeper truth behind Santa Margarita Catholic High School's thrilling production of Pippin.

Jana Phillips
St. Margaret's Episcopal School
Submitted for publication to OC Cappies Facebook

Pippin's "Corner of the Sky" at SMCHS

Santa Margarita presents with marvelous vibrancy, "Pippin" by Roger O. Hirson, a musical which comments on man's desire for perfection and a higher meaning in life. An acrobatic troupe of performers, "players," tell the story of Pippin (Tyler Cotner), a young prince seeking his "Corner of the Sky," only to realize at the end of the musical that a more simple life can be the most fulfilling.

The Players open the musical, declaring that they have "Magic to Do" and promising the audience a magnificent performance. The Leading Player (Andrea Martinez) shocks the audience with her incredible voice, belting every note with a showman-like tone. Directly addressing the audience, she introduces Pippin, who's incredible ability and stamina quickly becomes evident, as he is able to seamlessly switch from song to song throughout the entirety of the show with undying energy and skill.

On his search for perfect happiness, Pippin visits his father, Charles (Nicholas Rule), who commands the stage with a comedic presence, his hand gestures and facial expressions perfectly befitting of his character.

Later he visits his grandmother, Berthe (JeanneAnn Faris). With an exemplarily executed old woman's warbled voice, she sings with an enthusiasm that draws the audience in, causing them to eagerly join in partway through the song as lyrics are displayed on a screen behind the set.

Throughout the production this screen displays on-stage "posts" of pictures and other modern day references which connects the musical, and its message, that much more to present day.

These posts and images abate as the second act begins and Pippin gains clarity through his relationship with Catherine (Julia Smith) who represents a simple life of hard work. Smith sings and speaks her lines in a constant sweet and gentle way, endearing her to not only Pippin, but the audience as well.

The musical draws to a close with Pippin rejecting The Players' fanatical and dramatic "finale" for a life with Catherine and her son. In one giant whirlwind suddenly everything is gone. The vibrant, extravagant, makeup (Paige Schuler) and brightly colored costumes (Joanna Pisano) disappear, leaving nothing but Pippin, Catherine, her son, and the realization that all The Players, the pomp and glory, was all just inside Pippin's head. He finally realizes, as we all should, that the perfect life comes not from extravagance, but from the routine events of our daily lives.