It's 780 A.D. -- or is it? Although first produced on Broadway in 1972, Pippin, the rollicking musical about war against the Visigoths, is as thematically up to date as the war against...well, choose one. Goodspeed Musicals' production is flavorsome but gimmicky, colorful but disjointed.
Resembling such successful musicals as Stop the World -- I Want to Get Off, Godspell, and The Fantasticks, Pippin also uses a circuslike atmosphere to tell its coming-of-age tale. Its hero, the eponymous son of Holy Roman Emperor Charlemagne, is akin to early hippies who, in search of "meaning," rebel against money and power.
Bob Fosse, the original choreographer-director of Pippin, was the show's magical miracle worker, molding the often trite material into a cheeky, sly, provocative show by adding eroticism, a killer pace, and enough razzle dazzle to gloss over the weaknesses in Roger O. Hirson's book. Luckily, he also had Stephen Schwartz's excellent soft-rock score to work with.
While the musical's relevance to today's war-torn headlines is undeniable, war is only pertinent to Act I; perhaps that is why the original production was intermissionless. Here at Goodspeed, however, there is an intermission, with the result that the production emphasizes how much less interesting Act II is as Pippin, longing for domesticity, is smitten by a man-hungry woman and, despite their lovemaking, remains unfulfilled.
Director Gabriel Barre keeps things moving, but indulges too much in a penchant for spilling action into the audience. He also rushes the cast through too much of the in-your-face dialogue and the orgy scene is a jumble. Overall, the show isn't as moving as it should be.
But as Pippin, Joshua Park is appealing, and André Ward sings and moves well as the seductive Leading Player. Shannon Lewis is an amusingly conniving Fastrada, while the strapping James Royce Edwards is an impressively narcissistic Lewis.
As Catherine, Teal Wicks is both determined and genuine, while Jason Blaine is touching as her animal-loving son, Theo. In the show-stopping role of Berthe, Pippin's grandmother, Barbara Marineau gives her all to "No Time at All." At the preview performance I attended, Micky Dolenz, former lead singer of The Monkees, was out as Charlemagne; his role was played by understudy Dell Howlett.
Mark Dendy's choreography, trying to find a middle ground between a Fosse homage and a personal interpretation, has some interesting Cirque du Soleil-like moments. Beowulf Boritt's set, with its huge revolving wheel, gives an unnerving look to the more military-accented Act I, as opposed to the more bucolic Act II. Kevin Adams' lurid lighting is heavy on red gels while Liz Prince's commedia dell'arte costumes are terrific, with enough bare flesh to stock a Woodstock revival.
As noted in the program, Pippin reflects the same sort pessimism today that the U.S. had in 1972. What a pity.
Pippin runs Aug. 9-Sept. 24 at the Goodspeed Opera House, 6 Main St., East Haddam, Conn. Tickets: (860) 873-8668. Website: www.goodspeed.org.