PIPPIN
run dates: 4/18/2008 - 4/20/2008
St. Ambrose University
Galvin Fine Arts Center, Davenport
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One of the beautiful things about writing for myself – instead of someone else – is that, when a theater organization does a show that comments on the folly and fanaticism of war, I can write about it without censorship.

(Before I get any reactionary emails, no, I don’t believe the current wars in Iraq and Afghanistan are being fought to protect my right to freedom of speech. And, yes, as a theater critic, I do write about theater – which, if it is done well, will often address issues and provoke thought even as it entertains.)

In the case of PIPPIN, a provocative show from the early ‘70s, one of its themes deals with the reasons politicians send our working class and poverty class to war; and it is shocking how little has changed in 35 years.

The production at St. Ambrose University employs brief photo and video images to spotlight today’s parallels with earlier conflicts that were equally ill-thought-out and senseless. Blessedly, the segments are brief and followed by humor to balance things out, but this part of the show does not fly by too quickly for it to have an impact. The title character’s close encounter with political greed and power-lust are just one of many significant experiences he has along his quest; and director Corinne Johnson (along with technical director Kristofer Eitrheim and video engineer Matthew Carney) succeed in making this part of the show significant, without allowing it to overpower the rest.

PIPPIN is the overtly theatrical tale of a young prince searching for meaning in life, and its flash and spectacle are integral to the show’s success – while also serving to point up another of the musical’s themes, a youthful rejection of the ordinary. Its setting in the 780 C.E. court of the Holy Roman Empire and its many wildly anachronistic elements play up a veneer of detachment, yet allows the very real issues PIPPIN raises to be explored. There are pyrotechnics and politics, fetish gear and family dynamics, gyrations and joy, silliness and sweet moments – all in one entertaining show.

Narrated by the Leading Player (a terrific Seth Kaltwasser), St. Ambrose’s PIPPIN offers a range of performances as strong as its array of technical wizardry. Kaltwasser’s heavily-moussed and made-up Player begins the show clad in a white blazer, shiny tight pants and high-heeled boots – a la ‘80s androgyny-rock – and his sinewy, sexy, insinuating performance (especially the dancing) is topnotch work that showcases Shellee Frazee’s great interpretations of Bob Fosse’s stunning original choreography. Though microphone issues (on a very humid opening night) made three or four of his numbers difficult to hear, Kaltwasser’s dynamic performance proved so engrossing that it almost didn’t matter.

Ryan Westwood is also first-rate, combining strong, gloriously beautiful vocals with an authentic emotional commitment to the title role – and his "Corner of the Sky," "With You" and "Extraordinary" are simply great songs. Westwood, who plays many scenes with Kaltwasser and with the lushly gorgeous Emily Kurash (as Catherine), works extremely well with both of them. His tap work with Kaltwasser on "Right Track" is particularly fine, and the "Love Song" duet with Kurash is unbelievably lovely.

Other performers – most notably music director Keith Haan’s turn as Berthe (Pippin’s grandmother) and Jeremy Pack as Lewis (Pippin’s half-brother) – also make major contributions to the overall entertainment value of this production. Sarah Catherine Ulloa’s over-the-top sexpot stepmother and Andrew Hall’s sweet turn as Catherine’s son also prove to be major crowd-pleasers.

Kaltwasser’s ensemble is just one of many great costumes created by the superb Brian Hemesath – and the entire female ensemble deserves major kudos for doing all those dance routines in sky-high-heeled boots that I absolutely covet – but Hemesath himself is only one of many members of the production team who have done stellar work on this show.

This PIPPIN is a fine representation of one of musical theater’s most important works, and it comes highly recommended (except for children and tweens, for whom the themes and erotic choreography are not suitable). Don’t miss the chance to see this thoroughly satisfying show.

© 2008 – rubynancy.com