Williamstown Musical Theatre Company’s production of Pippin is playing at the Altona Theatre (115 Civic Parade, Altona) until November 23, 2024.
Tickets start at $46 and are available via https://www.wmtc.org.au/pippin2024
What drew me in to seeing Pippin were Instagram photos posted by the Williamstown Musical Theatre Company that showed off their stunning costumes and dramatic intensity. Without having any prior knowledge of what the show is about, I guessed it was about a young boy working in a circus who goes off to find adventure and self discovery. And boy, was I wrong?!
While musicals like Mamma Mia!, Wicked and Sister Act are easy crowd pleasers, this is not for anyone, nor entry level. It’s complex and filled with allegories on mental illness with themes of anxiety, perfectionism, expectations, depression, suicide and even ego. I’d liken it to Hadestown (which is coming to Melbourne’s Her Majesty’s Theatre from May) with its main storyline but with undercurrents… and if you’re not paying attention, you might just miss them.
I too struggled, especially times when it broke the fourth wall, which seemingly felt out of place. It happens from the beginning and I thought little of it. But it started to make sense with the introduction of Catherine (Rachel Rai) following the resurrection of King Charlemagne (Lee Threadgold). I also don’t pretend to be some musical genius for getting it.
While all will marvel at the stunning visuals, inexperienced and uneducated theatregoers will come away confused. As will children. In fact, just keep them out of the theatre in general as this is one of the more sexual shows I’ve ever seen – from its scantily clad outfits, sexual overtones, thrusting and depiction of sex, including an orgy.
Pippin was created in 1972 with music and lyrics by Stephen Schwartz and book by Roger O. Hirson. The story is about the titular Pippin (William Woods) who seeks to find purpose and fulfilment in his life. In the first story, he joins his father’s army. Pippin returns home disillusioned and goes to his grandmother, Berthe (Abi Richardson) for advice. He then dedicates his time to meaningless sexual encounters before deciding to overthrow the cruel king with the help of his step mother Fastrada (Tyler-Rose Shattock) and brother Lewis (Johnathan White).
Feeling discouraged, Pippin meets Catherine, a widow who lives on a farm with her son Theo (Emmanuel Falzon and Zanni Lieu alternate) and his pet duck. After a year, Pippin realises he’s grown too comfortable in monotony and leaves to continue searching for his true purpose. I’m not going to spoil the ending but it’s heavy, dark and confronting.
This production also features the extended “Theo Ending” which was originally conceived in 1998 by Mitch Sebastian, and is included in all newer productions of Pippin.
Throughout the musical there is a large and multi-talented ensemble (called the players) who are given a lot to do. Ever present in Pippin’s mind. A highlight was during Extraordinary, which sees them dressed as farm animals. One could say the stage is cluttered, busy even, as there’s a lot to look at but I expect no less from a bold and ambitious production such as this. The crowd favourite was clearly one of the chickens as well as the three pigs.
However, it was Sharon Wills as the leading player who stole the show for me. My favourite songs were Glory and The Right Track so I suppose I’m biased, but her powerhouse vocals and rich stage presence is felt even when she’s in the background and it’s appropriate for the role and done expertly. William Woods is equally impressive. I personally enjoyed his performance in CLOC’s 2023 production of Catch Me In You Can more, but his leading man quality is undeniable.
Another favourite moment was the cameo by Vinnie, director Tamara Finch’s gorgeous puppy, in a hilarious scene that I don’t wish to spoil. Finch’s clever and creative choreography alongside James Rooney is where this production excels. They utilise the impressive dance skills, contortionist and aerobatics of its players. Set Designer Shaun Kingma fills the space by layering various objects such as staircases, planks of wood and a thrown. Her use of a brown colour palette offsets well against Louise Parson’s rich costumes and Daniel Jow’s lighting.
My personal bias aside, I’d rate this production highly. It’s perhaps the weirdest, wildest and most sexually charged musical I’ve ever seen, but there’s a lot to like. It’s a complicated visual feast for the eyes. Just, if you dare, go in with some prior understanding of its nuances.
TINSEL and TAP SHOES 