By John Lyle Belden
Things across the world are rough now, but Footlite Musicals is partying like it’s Seven-hundred Ninety-Nine with its spectacular production of “Pippin,” the Tony-winning classic by Stephen Schwartz and Roger O. Hirson with contributions from Bob Fosse.
To explore the timeless human pursuit of “glory and meaning,” a troupe of performers presents a story very loosely based on the oldest son of Charlemagne (medieval ruler of much of Europe, a/k/a The Holy Roman Empire). Not letting history get in the way, the Leading Player (Anya Andrews) declares that the prince is not a hunchback (like the real Pepin). Our handsome Pippin (Parker Taylor) instead bears an affliction of the spirit, always feeling empty and unfulfilled.
Charlemagne (Edward Trout) is not really concerned, expecting that his likely heir will safely pursue intellectual things while he and his brawny son Lewis (Jack Sullivan) go to war. Pippin insists on going along – the first of many searches for his “Corner of the Sky.”
Meanwhile, Lewis’s mother Fastrada (Shari Jacobs) plots to get his son on the throne.
We also have an entertaining encounter with Pippin’s exiled grandmother Berthe (Miki Mathioudakis). Eventually, we also meet kindly widow Catherine (Nicolette Màntica) with her son Theo (Oliver Barszcz).
And canine actor Shadow Vest is “not a duck.”
The musical’s scenes are further brought to life by the ensemble of Leon Benbow-Blomberg, Dustin Branum, Nate Copeland, Skye Fuller, Xaviera Kuissi, Kylie McGuffey, Kerrigan McSweeney, Jed Otterson, Gwendolyn Pickett, and Louie Rivelli – all doing their Fosse-est.
Directed by Claire Slaven with Jerry Beasley and Zac Speer, this show is fascinating from start to finish. We get mesmerizing performances by Andrews and Taylor, the former as befits a circus ringleader and the latter as the fresh-faced searcher with charming naivete. Trout gives us a no-nonsense ruler and rather understanding father. Jacobs is appropriately devious. Sullivan makes an oddly charming meathead. Mathioudakis makes the most of her prestige role. Màntica comes in as a beautiful voice of reason – much to the Leading Player’s chagrin – making Catherine’s love feel genuine.
Choreography is by Thomas Mason, with McSweeney and Taylor, preserving the Fosse style while bringing a unique vision for this production. For instance, when Pippin is exploring carnal pleasures, the ensemble remains mostly clothed with maneuvers as graceful as they are sensuous, resulting in “sex” that’s almost G-rated.
Vocal director is Ben Rose, the orchestra is conducted by Jeremy Kaylor, and stage manager is Melissa Yurechko, assisted by Cagney Gladden. Lyndsey and Laura Vest wrangle the props, as well as perky Shadow.
The cast and crew have plenty more “Magic to Do” with performances Thursday through Sunday through Oct. 4 at 1847 N. Alabama St., Indianapolis. Tickets, which are selling fast, are available at footlite.org.
