Content Warning: This story contains mentions of violence and suicide.
Eager to witness the first musical of the school year, audiences lined up an hour in advance outside of Shanley Pavilion in hopes of getting a ticket to Arts Alliance’s Garden Party production of Stephen Schwartz’s “Pippin.”
The musical, which originally debuted on Broadway in 1972, had a notable revival in 2013. The show centers on a fantastical circus troupe facilitating the journey of Pippin, played by McCormick and Communication senior Aiden McCoy, the young son of Charlemagne, who has ambitious goals to live a completely fulfilled life. It’s a metatheatric story, breaking the fourth wall frequently to remind those in the audience that they, too, are part of the cyclical spectacle.
McCoy demonstrated acting and vocal range in his performance, portraying Pippin’s descent from exuberance into disillusionment with precision while never sacrificing energy for powerful tunes like “Corner of the Sky.” The production was ambitious in scale — especially for the small venue — but the actors pulled off the impressive show with a flourish.
The student production of the musical ran four times throughout Friday and Saturday. Arts Alliance took a darker approach to the circus themes, setting the troupe in an unexplained apocalyptic setting. Costumes and bold makeup signified alliances between characters and the audience, which subtly traced Pippin’s journey through his various phases — soldier, lover, king, artist, believer — in search of purpose.
“Pippin” set a high bar as the first musical of the year. The show’s runtime stretched just over two hours and included demanding choreography for the entire ensemble, especially McCoy. Some songs, like “Glory,” featured original Bob Fosse choreography, like the famous marionette-like Manson Trio dance over a gory battle scene. Other dances incorporated more contemporary jazz movements.
“This show is definitely the most intense choreography I think I’ve ever put onstage and also I think some of the most intense choreography for student theater at Northwestern,” said Communication junior Myah Shelton, the show’s choreographer. “Most shows are not this dance heavy.”
Communication senior Emerson Steady’s direction tactfully balanced the darker elements of the story — like violence, lust and mentions of suicide — with humor and pockets of upbeat choreography.
While the musical itself doesn’t have many specific allegorical elements, the show is considered by some to be commentary on the Vietnam War. Steady said she was inspired by concerns about Northwestern’s relationship with the Trump Administration.
“We realized that the story that the troupe wants to tell is actually a very dangerous story,” she said. “It’s a very nihilistic story, and I think that’s exactly, to me, the sort of framework where Northwestern’s administration is coming from.”
Steady is one of fewer than three dozen students at risk of losing student status for boycotting the University’s mandated bias training. Before the performances, she issued a call to action, urging attendees to “not comply.”
“Pippin” is a story that comes together as it unfolds, tugging the audience along until they are immersed within the narrative of the Leading Player, played by Communication senior Marcella Tracy.
The show builds to a chaotic frenzy punctuated by moments of striking clarity, driven home by impressive vocal performances from the ensemble cast.
“Your fate is never set in stone,” Tracy said on the show’s message. “And even though you may picture one thing for yourself, even though you may picture the most extraordinary life, or you have this vision, it may not work out like that. And you may be just as happy, if not even more happy.”
Editor’s Note: Curtain Call is the new name for The Daily’s theater reviews. Similar to ‘Reel Thoughts’ and ‘Liner Notes,’ Curtain Call will provide commentary on local theatre productions, including those put on by the Northwestern community.
Email: rubydowling2028@u.northwestern.edu
X: @rubywright0
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