‘Pippin’: The kind of campiness that pulls at heartstrings

Photo Courtesy of Lauren Strand

Chapman on Broadway (COB), a student organization for theater kids and music lovers, presents their spring show, “Pippin.” 

This is the eighth production that the organization has put on, and is arguably their most physically demanding yet, with cabaret-style choreography, flips and various ensemble groups taking many forms, from campy soldiers in heels to farm animals. 

The opening night performance on March 19 was a packed house in Chapman’s Memorial Hall auditorium. Director Mason Gulline, alongside music directors Sky Nudelman and Lars Kahn, had a full crew of support and creative vision with additional co-assistant directors, Bridget Winter and Olivia Boyd. 

“I think this cast and team's abilities are what set this production apart,” said senior writing for film and television major, King’s Guard ensemble member and COB publicist Aiah Smith. “For a student-run theater organization, we pride ourselves in the fact that so many talented people want to lend their gifts to shows that we produce. There is a constant throughline in ‘Pippin’ where we are all so genuinely impressed by each other’s abilities.”

This sense of connection and talent translated itself to stage, with amazed audience members and reactions returning the energy to the actors.  

Last spring, Smith played Veronica Sawyer in COB’s “Heathers: the Musical,” her first time performing since high school. 

“I was going through a rough patch and felt that getting to do a thing that I loved consistently was what I needed at the time,” said Smith. “I had no idea what it would amount to even today. COB made my college experience what I hoped it would be for me.”

Now taking on an ensemble role, Smith is part of a greater narration through the play. There are three ensemble groups in “Pippin”: The King’s Guard, Leading Players and Red Lights. 

“This is by far the most dance-heavy show I have been in, and it has been such a joy to connect through movement with people,” said Smith. “Abby McCoy, our choreographer, has created such a fascinating world of movement with this show. The choreography is a mix of jazz, funk and Fosse stylings. Her choreography is so intentional and progresses the story along in such a lovely way.”

A large-scale musical with many numbers, the ensembles were needed for “Pippin.” As a collective narrator, the three different troupes walk the line between background and active voices that influence Pippin (played by Michael Graham) in his desire to “become something extraordinary.” 

The show often broke the fourth wall, conversing with the audience through the circus-like acts and moments of tension.

From killing his father to overthrow his throne, becoming an unsuccessful king, entering the battlefield of war, visiting his eccentric grandmother for advice and then venturing to the quiet life with Catherine and her son in their farmland, Pippin is on the hunt for a fulfilling life as he navigates a deceptive and windy path, led by the Leading Player (played by Mmabatho Segwabe). 

Pippin is more than the unsuccessful protagonist. His defining trait is his relentless ambition and passion for life. However, the question remains, at what cost will his obsession consume him? The Leading Player plans to trick Pippin into committing a deadly act, one that would be an extraordinary ending to an extraordinary individual. However, against the audience’s expectations, Pippin declines.

In the end, he discovers peace in the simplicity of life with Catherine and her son. The play leaves off on a dark note of foreshadowing — not for Pippin, but for Catherine’s son. The circular pattern of obsession and desire begins once again, and the audience can only assume what will happen next. 

“What resonated about ‘Pippin’ for me is the way the story relates to those who are in a transitional period in their life or feel like they haven’t found the thing that drives them yet,” said Smith. “I appreciate stories that make you feel like you’re not alone in your feelings.”

Finding the meaning of life is not easy. It also doesn’t need to happen right now — or else you might get carried away by The Leading Player and her various troupes. Maybe there is no right meaning, as “Pippin” suggests. As graduation season is coming up and new adventures are to be explored, just finding fulfillment in the simplest of things is enough.