Pippin
at Washington Lee High School

Reviewed on February 3, 2017

Helen Ganley
McLean High School
Submitted for publication to Cappies News

Rivers belong where they can ramble, eagles belong where they can fly, and Washington-Lee High School's production of Pippin belongs where it can amaze. Reinvented to be set in a jazzy nightclub, the charismatic cast has found its very own corner of the sky.

Pippin has been spreading its magic since it opened on Broadway in 1972. A show within a show, Pippin follows an acting troupe performing a show about the life of the son of Charlemagne and the namesake of the show, Pippin, led by their manipulative Leading Player. Originally a student musical performed at Carnegie Melon University, it was transformed by Ron Strauss and Stephen Schwartz, who produced the final show. The show's popularity led to its revival on Broadway and a Tony award.

Mischievous, mysterious, and melodious, Ellie Berenson dominated the room as the Leading Player. As her voice soared, Berenson had tremendous control over both her vocals and her movements; she brought a new and interesting physicality to the show. Zeke Albro reigned as Pippin, transitioning from having boyish innocence to intense vulnerability with ease, inciting guffaws as he gallivanted across the stage and climbed across the arm rests of the audience members. Albro's smooth baritone enchanted all during "Morning Glow," where he demonstrated his exceptional vocal range and comfort onstage.

A dedicated dance ensemble welcomed the audience to their nightclub, from Grace Leckey's talented tap dancing to Christopher-Thomas Cordero's attention-drawing performance. Julia Elman delivered the best performance of the night as Berthe. Elman's persuasive and energetic performance in "No Time at All" enticed all to sing along, refreshing the audience with her effortless sensuality. Grace Fisher was a vision of innocence as she used her impeccable grace to portray Catherine's love for both her son and Pippin. Rowan Meltmar wailed his despairs over his lost best friend, a duck, to great applause as Catherine's son, Theo. Meltmar's youthful air perpetuated a true family chemistry, the only hint of reality in a show full of mischief and lies. Will LeHardy's flamboyance as Lewis was hysterically brilliant. His chemistry with everyone he interacted with was exceptional, especially in a mock mirror moment, which he shared with his twin, Ward LeHardy.

The real magicians were the tech crews. Ripples of colorful boas and feathered fans excited the audience, enhancing the delicate choreography displayed in intricate numbers like "War is a Science." Simplistic sets heightened the show within a show aspect of the production by using pieces that were both useful and comedic, like the rotating bed set. Dramatic lighting enhanced the action of the show; for example, red lights flashing in moments of violence and anger. The flashy outfits and glitzy makeup of the performers were contrasted by the waiter's clean fitted tuxedos, all of which generated the laidback cabaret-like atmosphere of the nightclub. Most consistently, the pit orchestra delivered an energetic and enthusiastic performance and impressed all by playing both their instruments and by staying in character while continuously onstage.

Magical and whimsical, Washington-Lee High School's production of Pippin had everyone humming along to the catchy and artfully delivered songs. An explosion of color, impressive vocals, and masterful dancing, this production will have you praying for more.

Aubrey Winger
Loudoun Valley High School
Submitted for publication to Cappies News 2

The lilting vocals of the cast floated through the audience, inviting them into a club filled with fantasy and intrigue. Washington Lee High School wasn't one to embrace the conventional when it came to their interpretation of Pippin. Set in a 1940's nightclub instead of the tradition circus or carnival, this cast offered a distinct and extremely effective take on this classic musical.

Pippin is a musical centered around a mysterious collection of actors with a single goal: to recreate the story of Pippin, the son of King Charles, a man whose story is forever veiled in superstition.

The entire show was orchestrated by the sultry Leading Player (Ellie Berenson). Berenson commanded the stage with her impressive presence and ethereal voice. The frequent cameos of her nightclub employees in the show kept the show fresh and reiterated the concept of a play within a play. The ensemble cameos were all bold, dynamic, and effortlessly hilarious.

Pippin (Zeke Albro) stole the hearts of the audience with his endearing antics and stellar voice. His relationship with his father Charles (Greg Roberts) was simply adorable. As Charles paraded around the stage, Pippin trailed behind like a puppy, exuberantly brandishing a sword and skipping straight into the battlefield. Their demeanors and voices contrasted beautifully in the song "War in a Science."

One of the highlights of this production was the appearance of Berthe (Julia Elman), Pippin's sassy sage grandma. The antics of the all-male ensemble in her song "No Time at All" were ridiculously funny as she wowed the audience with her captivating presence, sequined dance costume, and austere expressions.

The chemistry between the step-queen Fastrada (Maddie Albro) and her darling son Lewis (Will LeHardy) was immensely entertaining as they perfectly fulfilled the roles of a doting mother and her baby. LeHardy showed immense dedication to character as he charged the stage and took on the personality of a lovable meathead.

The pit orchestra handled the complex score with complete professionalism. They managed to integrate themselves into the show with their reactions, sequined bow ties, and perfect timing.

The subtle glitz and glamour of the costumes in "Pippin: His Life and Times" replicated the sparkle of the nightclub. The sequined pockets on Lewis's coat and the sparkle of Theo's overalls combined with the glittery outfits of the dance ensemble tied both scenes together. Another impressive costuming feat was the constant use of tear-away clothing. The queen and Berthe both tore away their skirts at the climax of their numbers: a guarantee that hilariousness would ensue.

The use of a cyclorama as a stationary backdrop worked perfectly to create a basic nightclub setting. Purple and red lights were used to accentuate the general feel of the show, while flashes of red backdrop highlighted Pippin's desperate nature. This framed smaller revolving set pieces that told the story of Pippin worked perfectly within the larger scene, seamlessly integrating reality and the make-believe. The bar also served a similar purpose. Not only did it provide a focal point for the nightclub, but the ensemble using it to take a break between scenes reminded the audience that they were simply actors playing characters.

The cast of Pippin certainly had "magic to do" on the stage that night, and their enchanting performance easily completed the task.

Maddie Gereski
South County High School
Submitted for publication to Patch.com

Washington-Lee High School's theatre department captivated their audience on Friday night in "No Time At All" with their creative and entertaining performance of Pippin! Originally directed by Bob Fosse and debuting on Broadway in 1972, the story of Pippin follows the life of Pippin, son of King Charlemagne, on his lifelong quest to find his place in the world. After the trials and tribulations of trying to fulfill what his kingdom expects of him as a prince, Pippin discovers that the true value in the world lies not within the eccentric lifestyle you live, but in the people whom you surround yourself with. Through technical artwork, comedic talents and impressive musicianship, Washington-Lee's performance of Pippin met expectations for a high school performance.

The comedic talents of the actors in Pippin provided a significant source of entertainment for the audience. Specifically notable were the characters of Lewis, played by Will LeHardy, and Theo, played by Rowan Meltmar. LeHardy portrayed the clueless but pretentious nature of Prince Lewis hilariously. Whether it was mocking dialogue onstage with hand puppets or his physicality in his over-zealous fighting, LeHardy had the audience in stitches and was extremely well cast. Likewise, Meltmar portrayed angsty young Theo perfectly, delivering his comedic lines hysterically. The talents of both Meltmar and LeHardy engaged the audience in the story line of Pippin.

Many of the technical aspects of Pippin combined to elevate the caliber of the performance. The use of movable set pieces worked to the advantage of the show. Whether it was Grandma Berthe's wheelchair or Charlemagne's throne room, the cast utilized their stage space very efficiently. The movable set pieces also added to the meta-fictional "show within a show" aspect of the musical. Additionally, a large proportion of the cast was mic'd with individual body mics. Despite occasional hiccups in the sound system, the crew managed the mics fairly well, especially considering the number of mics onstage at a time. The cast and crew of Pippin utilized technical aspects to their advantage.

The highlight of the show was the supreme musical talent by the whole cast. Pippin, played by Zeke Albro, affected the audience with his stunning rendition of "Corner of the Sky", hitting high notes with ease and clarity. Albro also did his best to project his voice in addition to his mic, making him easily understood by the audience. Julia Elman, portraying Grandma Berthe, also maintained vocal clarity and comedic characterization while performing her number "No Time At All", engaging and entertaining the audience. In fact, the entire ensemble proved vocally gifted. What they occasionally lacked in energy and facial expressions they made up for with beautiful harmonies and vocal unity. Their strength was especially clear in large ensemble numbers such as "Morning Glow". The best part of the impressive musicianship, however, would have to be the pit orchestra. Not only were they clear and precise, but they also reacted to occurrences within the show and were involved beyond the typical participation of a pit orchestra. Between the pit and the vocals, the music in Pippin was superb.

Washington-Lee's take on the musical Pippin proved creative and enjoyable. Through impressive technical undertakings, hilarious acting, and fantastic vocal and instrumental capabilities, the cast and crew of the show entertained audiences in a well-executed high school show.

Kelly DeAngioletti
Tuscarora High School
Submitted for publication to Insidenova - Sun Gazette

Ever feel that there is more to life? That you were destined for extraordinary things? Washington Lee High School provides the razzle-dazzle needed to fulfill, as they invite you to ‘join them' in a highly-interactive telling of Pippin.

Pippin, originally conceived to be a student musical by Stephen Schwartz and Ron Strauss, ended up straying far from the intended purpose, as Schwartz went on to further develop the show. After appearing on Broadway in 1972 for a five-year-run, and reappearing as the Tony-award-winning 2013 revival, the show materializes on the stage today, completely reimagined from the original script.

The musical begins with an alluring Leading Player breaking the fourth wall upon entrance; beckoning the audience to join her traveling troupe in a spectacular show filled with magic, humor, battles, illusion, and sex. The Players present the tale of Prince Pippin, son of Charlemagne, on his existential quest to find where he belongs. Various actors begin to stray from the plot, as the Leading Player exerts more command to control the show. When the highly-anticipated but disturbing finale finally arrives, Pippin refuses to take part, as he has, at last, found what matters to him.

The show featured a strong cast of leads who added a sprinkle of pizzazz to the nightclub ambiance. The Leading Player (Ellie Berenson) commanded the stage, both vocally and physically, as she narrated the musical with zeal and mystery. Pippin (Zeke Albro) charmed the audience with stunningly smooth vocals, charisma, and authenticity. Albro moved about the stage with ease, evoking a chorus of laughter with every dance, song, and line. From each awkward, adorable outburst of "Jubilation!" to bemoaning despair, every heart went out to Pippin as Albro skillfully tackled Pippin's arc from frivolous to realistic to satisfied.

With his strong vocals, comedic timing, and knack for physical humor, Charles (Greg Roberts), made the audience guffaw as he fulfilled the role of an authoritarian figure tasked with an awkward father-son relationship. Lewis (Will Le Hardy) contributed to the hilarity with zest, comedic vigor, incessant mocking, and energy. Berthe (Julia Elman) ‘took the cake', bringing a strong presence and refreshing energy to the stage with a scene so vivacious and warm that everyone was compelled to sing along.

The Fosse-style choreography was well-executed among the dance ensemble, who frequented the stage with sparkles and smiles. In the number "War is a Science", the dance ensemble delivered clean-cut moves, unique choices, and hilarious contrast to Pippin and Charles.

A steadfast presence in the show was the strong, spectacular orchestra. Their overall sound rocked the stage and perfectly complimented the actors. Despite not being a part of the action, the orchestra still managed to achieve involvement, adding their own respective touches to the show, without detracting from it.

The set, though simplistic, contributed to the nightclub atmosphere. Purple flats stationed around the stage, as well as a permanent bar and tables, heightened the mood. A reversible piece, with Charles's throne room and church, was both a creative, as well as artfully-crafted, choice. Similarly, costumes added just the right touch to the show. Every character had an element of glitz, which tied all the pieces together. The men's sparkly vests and Fastrada's pull-away dress were two particularly impressive pieces. Lighting was effective; various gels were used to light the stage with red for gory scenes, white for godly scenes, and purple for the ‘royal' feel of the nightclub. Stage management (Mia Shaker, Abby Fry) was done effectively with tasks that extended past the duties of a stage manager.

"Ladies and gentlemen, boys and girls…" I present: Pippin!