Pippin
at Stone Bridge High School

Reviewed on April 22, 2017

Sarah Bourgeois
Westfield High School
Submitted for publication to Cappies News

An unrestrained circus "spread a little sunshine" with spectacular choreography, imposing skill, and formidable ASL interpretation to tell the story of a disoriented prince in Stone Bridge High School's production of Pippin.

Roger O. Hirson's Pippin premiered at the Imperial Theater on October 23, 1972, and also appeared in Her Majesty's West End Theater in 1973.The show won countless awards and was revived in 2013. The plot follows Pippin, a young prince, as he searches for his purpose in life. He attempts to join Charlemagne's army, invest in women, and even become king. He fails at all of those and continues his search with the help of the Leading Players of the performance troupe telling his story.

Caleb Rouse portrayed Pippin with intensive acting and vocal agility that shined throughout the performance. His striking vocals brought a strong sense of hope to the audience in "Corner of the Sky." Kyle Broderick and Paravi Das as the male and female Leading Players+ demonstrated powerful vocals in songs like "Glory." Broderick executed difficult tricks and dances flawlessly, giving the audience an unforgettably breath-taking experience.

The performance troupe ensemble performed inspiring choreography and expertly told Pippin's story through movement. As their voices intertwined to create splendid melodies. The ensemble's dances gave the audience a resplendently lyrical interpretation of Pippin's story. One dancer in the ensemble, Karen Zipor, performed a flowing, eagle-like dance to symbolize Pippin's lost feeling during "Corner of the Sky" and other songs as well.

To enhance the show, Phoebe Taylor translated the entirety of the script to American Sign Language. An ASL character was added to many of the roles in the musical. These characters represented the soul of their speaking counterpart. Sometimes the two were at peace, other times the being and soul fought. The ASL characters signed the lines spoken by their corresponding character to provide entertainment for the deaf community, who struggle to find inclusive shows such as this one.

The makeup and costumes of Pippin displayed immense detail and added to each character's being. The flower costumes consisted of colorful leotards and long strings of flowers tied to the waist and draped to the floor. The makeup for the mermaid was incredibly detailed, down to each vibrant scale. The leading players had a single shining, green spot on their faces which matched their ASL character's snake-inspired look.

The unruly performance troupe and vigorous leading players brought "glory" to Stone Bridge High School's Pippin.

Mallory Williamson
Dominion High School
Submitted for publication to Cappies News 2

Nearly everyone's had an existential crisis; when, for just a moment, you wonder what your life's purpose is to be and where your place is in the whole, wide world. Now imagine that existential crisis played out on a stage in front of you, complete with brightly hued dancers, exaggeratedly long noses, and a preponderance of sign language. Signed and delivered, Stone Bridge's Pippin was an entertaining Saturday evening for all who were privileged enough to see it.

Originally performed on Broadway in 1972, Pippin saw Broadway revival in 2013 and has since embarked on a successful national tour. Written by Tony award-winning playwright and composer Stephen Schwartz and originally choreographed by Bob Fosse, Pippin tells the story of the eponymous prince's search for life's meaning. The musical begins with Prince Pippin's adventures within the walls of his father Charlemagne's kingdom, and as he attempts to derive meaning out of his various trials he falls further and further into resolve that he must overthrow his father. In the second act, Pippin finds himself collapsed onto a street, before being helped by a lady named Catherine into the life he never wanted—that of an Everyman, a farmhand and stand-in father with no special significance to be had.

Any characterization of Stone Bridge's rendition of Pippin would be incomplete without referencing the incorporation of American Sign Language into the production. All of Pippin's principal players were paired with an ASL counterpart, who both signed all their lines in a manner accessible to deaf audiences and expressed, through clothing choices and facial expressions, the speaking character's inner emotions. Entirely translated into ASL by senior Phoebe Taylor, Stone Bridge's Pippin often thus had two parallel scenes occurring simultaneously, with both the speaking and deaf actors interacting and conversing with those of their own label. The effect of the ASL actors on the production was profound, and was perhaps the most memorable aspect of the entire show.

Lead actor Caleb Rouse, playing the titular Pippin, was exceptionally well-suited for the role. He tackled the diverse vocal requirements of the character with ease, and maintained genuine chemistry with Catherine (Julia Berg) during their stage time together. Rouse's performances in "Prayer for a Duck" and "Corner of the Sky" accurately conveyed the scene's emotional content. Though his ASL counterpart (Phoebe Taylor) had no speaking lines, Berg was equally as effective in portraying Pippin's inner confusion and despair as Rouse was in vocalizing it.

Much of the supporting cast, however, provided the show's highlights. Ben Lechtman's comically boastful Lewis and his money-hungry mother Fastrada provided much of the comedy in the play's first act, and Taylor Stevens' Theo picked up the comedic mantle for the latter half of the show. The Birds and the Bees' ensemble, inserted to make the production's raunchier elements more family-friendly, were also among the show's funniest elements.

The costumes and technical effects were designed in the vein of 1920's Vaudeville, which became more and more eminent as the show progressed. Complete with bright rainbow paint in almost every shade, the set of Pippin provided the farcical foil to the show's heavy, existential plot line.

Overall, Stone Bridge's performance of Pippin combined advanced technical elements with genuine emotion for a production which was rich in both playful fun and deep meaning.

Charlie Parsons
Westfield High School
Submitted for publication to Patch.com

The pop of confetti cannons punctuate the notes of "Magic to Do" as the stage fills with mimes, clowns, and a plethora of extravagantly costumed actors and dancers. This extravaganza of sight and music begins Stone Bridge High School's thoroughly marvelous production of Pippin.

Pippin premiered on Broadway in 1972. Featuring music by Stephen Schwartz and writing by Roger O. Hirson, the original production soared to popularity, running for 1,944 performances. Pippin swept the 1973 award season, winning Tonys for Best Performance by a Leading Actor, Best Direction, Best Choreography, Best Scenic Design, Best Lighting Design, and Drama Desk Awards for Outstanding Director, Outstanding Choreography, Outstanding Set Design, and Outstanding Costume Design. Pippin was later revived on Broadway in 2013.

The story of the young prince Pippin and his quest for meaning is presented by an anachronistic troupe of fourth wall-breaking actors. Pippin seeks fulfillment while the players who narrate his life story promise the audience spectacle, sometimes against Pippin's own interests.

Caleb Rouse, who played Pippin, embodied the earnest curiosity of his character, acting with charm and poise. Rouse also demonstrated powerful vocal range in songs like "Corner of the Sky" and the moving "Love Song." Kyle Broderick and Paravi Das, who played male lead player and female lead player respectively, each contributed their own form of incredible spectacle to both the part of the lead player and to the whole as a show. Between Broderick's impressive dancing and Das' excellent vocals, the troupe of players became as dazzling as they were chilling when their characters manipulated Pippin to deliver to the audience a promised spectacle.

William Helmrath who played Charlemagne, both played and skewed power as he led men to battle on stage. Ainsley Steger, who played Berthe, delivered a fantastic performance of "No Time At All," with the characterization of an old woman but the energy of youth. Julia Berg, who played Catherine, gave a dynamic performance throughout, especially for the raw and honest "Finale."

Especially notable is the incorporation of American Sign Language into the play. Students translated the entire script into sign language, and then taught actors how to sign. Each speaking character has an analogous sign actor, which makes the show entirely accessible to the deaf community, and narrates the inner conflict of characters like Pippin through facial expressions and body language. The student built set encapsulated the bright and circus-like mood of the show, with a large sun in the center.

Stone Bridge's production of Pippin ends with all the exterior superficial magic stripped away from the stage. The core talent of the cast is clear throughout the show but especially lucid in its powerfully real conclusion.

Nathan Reiff
Lake Braddock Secondary School
Submitted for publication to Loudoun Now

What's the meaning of life? Is it to work towards a goal of contentment and stability? Is it to forever seek magic, mayhem and mystery? Those were the questions that Stone Bridge High School attempted to answer in their production of Pippin.

Debuting on Broadway in 1972 with lyrics and music by Stephen Schwartz and a book by Roger O. Hirson, the production follows the eccentric Pippin (Caleb Rouse), heir to the throne of his father King Charlemagne (William Helmrath), and a whimsical cast of "players" as Pippin desperately searches for a sense of meaning and fulfillment in a life dominated by expectation and ambition.

Commanding and masterful in leading the bulk of the production, Rouse was brilliant in documenting Pippin's growth from an ambitious boy to grown man, content in his corner of the sky. An equally talented singer, his vocals chilled the audience in numbers such as "Corner of the sky," where his exemplary tone was on full display.

A superb cast of supporting characters were equally captivating in their own rights as the story went along. Helmrath as Pippin's father was hilarious and brilliantly fit for the role with with a tacky, yet memorable charm.

Ainsley Steger as Pippin's grandmother Berthe was perfectly over-the-top and vivacious in her number "No Time at All", with excellent comedic timing to boot. Also note-worthy was Julia Berg was the widow Katherine, whose transition from providing comedic relief to becoming an integral component of the story was seamless and impressive.

The enthusiastic ensemble of was led by The Leading Players Paravi Das and Kyle Broderick, both of whom were excellent in engaging the audience as a charismatic duo in an otherwise chaotic scenario.

Costume and make up design was the technical highlight of the show. Elaborate designs of Leading Players and their ASL leading player were enhancing to the mysterious and quizzical vibes of their characters. The elaborate scaled make up of the snake (leading player ASL) and a mermaid character of the ensemble was eye-catching, and an impressive display of creativity.

Choreography while not always perfectly executed, was ambitious and fun to watch. The set, while unremarkable, worked well for an ensemble of such a size.

Perhaps the most memorable and creative component of the production was its American Sign language (ASL) component. Along with each lead actor was an interpreter in costume and make up following them along as a shadow figure interpreting the play in sign language. Complicated and risky, but with great reward as the ASLs kept up incredibly well with their actors, even outshining them at points. A unique and brilliant touch.

With a chaos and energy reminiscent of 20th century Vaudeville, the Stone Bridge Cast electrified the stage with their cheeky adaptation of this beloved musical.