Pippin

Glossy Prince

Pippin

music and lyrics by Stephen Schwarz, book by Roger O. Hirson

Cygnet Players at the Putney Arts Theatre until 6^th September

Review by Heather Moulson

I had mixed feelings about the musical Pippin, with its strange fictional plot about two historical figures derived from the early Middle Ages. It fell flat when I had previously seen it. However, I went along this time to the Putney Arts Theatre with the incentive to get to really know this piece, the music and lyrics written by the legendary Stephen Schwartz: I was a big Godspell and Wicked fan and wanted to like Pippin too.

On James Chadwick’s set, the large orchestra was placed neatly to one side of the generous stage. Here the charismatic narrator, the Leading Player, greeted us with vibrancy. He brought everything to life very quickly, in the monumental stage presence and powerful voice of Jamie Miller-Hughes.

The eponymous Pippin, beautifully attired but suitably unimpressed with his royal father, was played by Laurence Parvu, whose singing was striking and strong. However, Paru took a while to get comfortable in the role, but by the second half he truly relaxed and used his performing skills beautifully.

The exciting, if shallow, half-brother Lewis was an impressive presence. I would like to see more of Alex Dehn, who took on this role, as his is a name worth watching out for. The conniving stepmother Fastrada, played by Caroline Steersmith, used her wiles skilfully.

Alex McKinven, as Pippin’s father King Charlemagne, cut a noble figure while expressing a mixture of love and exasperation for his naïve son. The gory battle behind the glitz of the chorus to Glory with scattering of limbs and torsos was well done; an a headless dialogue with Katie Sterland was terrific.

I felt sad about the microphone turbulence, as Pippin’s vampy grandmother Berthe did such a wonderful number No Time At All. It was very profound, and with hearty audience participation. Lily Gillespie Moult still shone through the technical issues.

The supporting cast, strong and pleasing to the eye in co-ordinating shades of orange and red, connected well as a strong chorus. Phoebe Fleetham, Janet Huckle and Louise Bravery’s costumes arrangements were arresting. I particularly liked the Leading Players’ and Pippin’s seventies garb.

Musical director Mimi Roberts produced wonderful sounds. The energetic and studied chorus deserve an accolade. Choreography, by Kim Schenkelaars, was well planned out and confidently handled, and the featured dancers were flawless.

The widow Catherine, who rescued Pippin, was sincerely played by Katie Dart, who took what seemed pointless snide comments from the Leading Player on the chin beautifully. I Guess I’ll Miss The Man was sung poignantly, and was one of the best numbers. Thomas Carter as her son Theo was great fun and formed a bond with Pippin.

There was apt and bold lighting by Emma Hunt and Andy James. Particularly effective was the red hue on the orchestra, highlighting their presence without intrusion.

Director Alex Johnson brought the best out of this complex piece and, you know what . . . I like Pippin.

Heather Moulson, September 2025

Photography by Russell Hughes