“Think about your life, Pippin! Think about your dreams you planned; Think about the moment that’s so close at hand…when the power and the glory are there at your command—Pippin, think about your life!”

–Stephen Schwartz, “Pippin”. 1973

“Join us, leave your field to flower. Join us, leave your cream to sour…” so bids the “Lead Player” of a traveling band of medieval story tellers in “Pippin”, the latest offering at the historic “Gem Theater” in Garden Grove California, produced by the theater’s award-winning resident company, “One More Productions” who themselves are marking their twentieth anniversary in the landmark centennial old theater. With music and lyrics by Stephen Schwartz (in his Broadway musical debut) and book by Roger O. Herson, OMP Co-Founder Damien Lorton serves in many functions for this retelling—starting with Director and Musical Director. He’s also a co-choreographer working in conjunction with Lexi Cross, Angela Mattern and Nikki Snelson. What follows (as we’re apprised) is a “Magic and Mysterious” tale of “Pippin: His Life And Times”. 

Director Lorton has designed a theme for the show that admittedly plays to its more ‘darker’ reputation (–“Pippin” was created and directed by the renowned theatrical giant, Bob Fosse who was infamous for his saturnine-sensuality on display with all his post 1960 era shows.) Lorton’s ‘take’ is a decidedly starker, ‘anything can happen at any time’ atmosphere best described as part musical/part burlesque; for those of you already familiar with this musical, it’s fairly safe to say you’ve NEVER seen it done quite this way! Yeah, it’s admittedly a tad bit PG-13 given these steamier trappings, but it still works (and is even highly enjoyable at that!) Utilizing this enigmatic performance company, led by the Mephistophelian Leading Player, the theatrical ‘fourth wall’ is broken numerous times as she addresses or serenades the audience directly. Likewise, even if the cast is perpetually clad in black and gray, no matter—you’ll still be hard pressed to recall any show with a more colorful cast of characters! Being that they’re depicting a troupe of roving entertainers, this assemblage take on numerous parts and numerous tasks appearing now and again as supporting dramatis personae as well as wandering minstrels, fleet footed courtiers—even barn animals at one point! They all have ‘Magic to do’ –and they do it—pretty darn brilliantly!

  Set in the Middle Ages, about a century or so before the turn of the first millennium, the story loosely follows the life of Charlemagne’s eldest son, “Pippin” (or Pépin) born in 747 A.D. “Charlemagne” (French for “Charles The Great”) was King of the Franks from 768, King of the Lombards from 774, and Emperor of the Carolingian Empire from 800, all until his death in 814. In his day, he was the King among kings, the supreme Potentate of all Europe (and he was never shy about showing it!) Had things turned out differently, history would have eventually recorded “King Pippin” too—presumptive heir of his father’s vast realm (trouble is, our boy had zero experience ruling anybody or anything.) What he’s looking for here can’t be found in any books, and his somewhat schizophrenic (read: half-assed) search for meaning for himself (including all the various missteps along the way.) serves as the basis for this tune-filled chronicle,  He even tries to measure up to his military-minded brother’s mighty, almost mythic, success on the battlefield…it doesn’t work out quite like our Hero imagined it would. Sure, it’s all fun and games until Pippin actually kills a man in battle—after which, we’re told (through song):  “He ran from all the deeds he’d done–he ran from things he’d just begun; He ran from himself (Which was mighty far to run) Out into the country where he played as a boy, he knew he had to find him some simple joy…”  Enter “Catherine”—a lovely young widow, along with her little boy “Theo”, and our Prince must decide if what he really wants is historical and lasting fame (and notoriety) or more austere but authentic happiness.

Keep in mind, too, this is, at its heart, a “dance” show and nearly every terpsichorean endeavor is a ‘dance-show stopper’ if ever there was any! What’s more, with four choreographers, there is a nice variety of movements and configurations throughout the show. The program astutely notes which numbers were staged by which choreographer under the number listing those they’ve worked on—for handy reference. Another awesome element to this, is how,  in light of the stylistic way its conferred, it gives the dance sequences such an expanded chance for a heightened (even surreal) interpretation, such as how in Act Two the Barn animal’s join in with a spritely quadrille during Pippin’s declamatory “Extraordinary” (you’ve got to see it to believe it!) Prior to this in Act One, there’s the Lead Player’s high-stepping interlude which culminates “Glory”. At the number’s conclusion (at the tail end of the war council,) the action flows directly into a nifty dance break as the “Lead Player” is joined by featured dancers Matthew Rangel and Edvan Galván, and the trio trot into, not so much a ‘vaudevillian’ exchange (as has frequently been the tradition with this piece) but instead with more the flavor of a 1960’s “Go-Go” whirlwind free-for-all (but still with straw hats and canes.) When it first appeared on Broadway back in 1973, this brief routine was seen nationally–serving as the basis for a ground-breaking ‘commercial’ Fosse devised to promote the original production—a feat never before done for a Broadway musical! The act break, “Morning Glow” is also among the show’s very best work—and in this production it’s nothing short of magnificent!

 As our Narrator and Guide “through this anecdotal review”, who is cryptically known only as “The Lead Player”, Nicole Cassesso performs any number of vital duties in this, the role that made Ben Vereen a star. It’s also worth considering how she’s on-stage just about the whole time (or very nearby when she’s not) such is the importance of her role. In fact, it could be easily (and factually) asserted that this is some of the finest work Ms. Cassesso has achieved on the Gem Stage. The role is multifaceted enough and she gallantly never falters.  Launching the show with the Broadway classic “Magic To Do”, here’s a number that’s about as rousing as rousing openings get—one infused with plenty of elegant ‘classic Fosse” moves! Next, living up to her stage monicker, she takes the ‘lead’ dazzling us all over with both song AND Dance components of the torrid “Glory”, before advancing just as assuredly into the swifter cadence of “The Simple Joys”. Later, her jaunty “Right Track” is also Ms. Cassesso’s crowning accomplishment in this production. Before the final curtain though, she once briefly reignites the more ominous side to her character for a fun, make-you-think, “Twilight Zone-esque” ending that this show is now celebrated for.

In the role of the handsome, yet aimless prince, Hayden Magnum adds yet another “Gold Medal” lead role to his already substantial list there at “The Gem”, In fine possession of an easy going kind of charm and delivery over and above a glorious voice and practiced manner with a song–he even plays the guitar for his “Love Song” shared with “Catherine”.  Yet, it’s when he essentially kicks-off the story with “Corner Of The Sky” (the scores’ most famous inclusion) that we know the show (and songs) are in excellent hands! Not only does the number introduce us to our titular hero, it also acquaints us with his prime conundrum: What does he do with his life when he’s already got the comprehensive, undivided (known) world at his fingertips? Yet, Hayden’s genuine grand-slam lies in “With You”—a true highlight. 

It starts pastoral enough, showcasing some of Hayden’s very best, and emotive vocal work, before suddenly transforming into a red hot—sizzling—musical melee outlining how idyllic, high-minded love can too-easily become a searing enslavement to “sins of the flesh” if one isn’t careful. (He even ends up confined inside a cage–symbolic of being a prisoner of one’s carnal appetites!) In Act Two he similarly shines with “Extraordinary”—when, now hold up at “Catherine’s” farm, he sullenly finds that a ‘normal’ existence doesn’t feed his ego to the same extent that being a Nobleman of one of the most powerful royal realms in history does. Here Hayden really cuts loose –particularly during the ride-out as he roars” “Oh give me my chance and give me my wings–and DON’T make me think about everyday things! They’re so secondary, to someone who is very ‘Extraordinary Liiiiike me!” (It’s a terrific song and exceptionally well delivered even if it is an expression of unadulterated –and unearned—ego!)

  As his father “Charlemagne” (once the most powerful man in the ‘known world’) Tim Klega—fresh from his victory in last summer’s “La Cage Aux Folles”– gives us a just-this-side-of -blustery potentate with a surprisingly calm reserve (when it comes right down to it, he doesn’t have to yell or get riled—he’s “Charlemagne”!) “The Pope and I have dedicated ourselves to spreading Christianity throughout the recognized world… even if we have to kill every non-Christian to do it!” he boasts to Pippin upon his son’s return from his studies in Padua Italy. 

 His pedantic “War Is A Science” is excellently sung and he delivers impressive (even staggering) work with some prodigious rapid-fire lyrics—and to his vast credit and talent, he even speeds them up! (So what if his map of Europe is a little modern and out of date? Just chalk it up to ‘forward thinking’ as Charlemagne was reputed to really plan ahead!) Beth Hansen comparably adds to her long list of theatrical triumphs with her featured role of “Berthe Of Leon”—Pippin’s saucy Grandmother and Charlemagne’s mother (although when the story takes place, she’s been banished from court for not seeing eye-to-eye with her gold-digging daughter-in-law, “Fastrada”.) “I need a plan—a goal” Pippin tells his grandmother early on and herein lies the entire theme of the show. In response, she performs one of this (or any) Broadway scores most popular audience  favorite, the sing-along: “Just No Time At All” as “Berthe”  tries to give her grandson the benefit of her “sixty-six” years of life, and the result is a bona-fide showstopper (Cast members even stand at the sides of the stage with the lyrics printed on giant cards so we’ll know what to sing when our turn comes!)  The fun even reaches its peak in a flashy Kickline. 

Then again, if Ms. Hansen has any competition for “Most Intriguing Character” in this piece it would absolutely be Nickie Gentry as that self-same “Fastrada”—the King’s second wife and Pippin’s ‘crafty, cunning and calculating” stepmother. She enlivens her character—the prototypical “Gold Digger” who has sunken her claws into royalty (sound familiar or like anyone today?!) with a spot-on character voice while never neglecting her solid (and substantial) singing talent. Moreover, she gets her “Star” moment in the spotlight with “Spread A Little Sunshine”—a Top-Flight anthem to the joys of insincerity as she carols: “I know the parables told in the holy book–I keep close on my shelf: God’s wisdom teaches me when I help others, I’m really helping myself” (And this is one lady not afraid to ‘help herself’ to pretty much anything she desires.) It’s got just that right taste of delectable mendacity, especially as she always proclaims, (almost like she expects us to believe her) : “After all, I’m just an ordinary housewife and mother, just like all you housewives and mothers out there!” If there is a dark horse/sleeper/unexpected audience fave—this one’s it! (Plus, she too performs some eye-popping fan kicks here to boot!) With her much of the time, is Hector Daniel Diaz as her own son: Pippin’s equally “ambitious” half-brother, “Lewis” (–historically referred to as “Lewis The Pius” for his assuring continued loyalty to the papacy after Charlemagne was no more.) Although his is more of a supporting part, this is truly ‘the man who will be king’ and he too, is a standout in such numbers as:” War Is A Science”, “Glory” and “Spread A Little Sunshine”.  

Although she doesn’t really appear until after intermission, Mary Desmond offers a thoroughly genial presence as “Catherine”—a pretty young widow who takes “Pippin” in when he literally has nowhere else to go. Our first taste of her vocal talent occurs shortly after her introduction with the expositionary, “And There He Was” as “Catherine” describes her first meeting with this strange, lost Prince (who, it seems, can only grouse about her taking him in.) Subsequently, her “Ordinary Woman” is a shining moment and major credit to Schwartz’s score—and thanks to Ms. Desmond’s strong and perceptive rendition assures that it too, is another high point here (Holy Cow—what a voice this gal has got!)  She also renders some remarkable and surprisingly affecting work with “I Guess I’ll Miss The Man”. Ostensibly an ode to “Lost Love”, it still manages to pack a few clever laugh lines within its lyrics. Then, together with Magnum, the two share “Love Song”—bewitching in its simplicity, this is an especially rich and lyrical addition to the score (–and the pair make an exceptionally melodious couple!) Count this latter number as a genuine second act crowd-pleaser! As “Catherine’s” young son, “Theo”, the role is shared throughout the run by Niles Gray (who performed Opening Night) and Kylie Stewart. For OMP’s version, “Theo” plays a rather important part in his own right; Utilizing the ending (also alluded to as the “Theo” ending) this was first conceived and implemented in 1998 and has been a part of all newer productions of the show–including the 2013 Broadway revival. After “Pippin” and “Catherine” make their final exit, “Theo”, singing his own reprise of “Corner Of The Sky” remains alone on stage, prompting the disgruntled players (disappointed by their supposed ‘futile efforts’ on Pippin’s behalf) to return, singing their own reprise of “Magic to Do”—this time aimed—pointedly–at the guileless lad. Between several older endings, (Fosse reputedly never liked conventional “Happy” endings,) Schwartz himself has expressed his preference for this one.

Of the overall austere “Attitude” the production adheres to, Lorton confides that he has probed the recesses of his darker grey matter, as he states, “we’re doing the show “our way.” This is well reflected in the technical or ‘supporting” elements, reinforcing and enhancing the total concept, until you have to agree, “OMP” may really be on to something here, bearing in mind that both the Broadway original and the 2013 revival were so colorful and flashy this more subdued and even shadowy approach works every bit as effectively. Take for starters, the costume designs by Luis Cornejo who has created a kind of “Pleasure Chest’ inspired fashion parade amongst the cast (—even the boys are sporting leather bustier’s here!) Not to be overlooked either are “Grandma Berthe’s” flowing, black silk gown punctuated with a matching black feather boa, Fastrada’s body-hugging black and silver studded one-piece bathing suit or King Charlemagne’s ‘regal’ floor length Victorian coat with gold and blue shoulder epaulets (and matching crown included of course!) On a more ‘emblematic’ note, both Pippin and Catherine seem to be the only characters clad differently–in lighter grey. The one place where they seem to have diverged from this monochromatic shadow scheme however is with Jeremy Huff’s often vivid lighting designs. Indeed, his particularly sharp lighting at the very opening sets the general ‘mood’ for later scenes (essentially, we are watching a play within a play undertaken by our ensemble thespian hosts!) He may even have engaged in one especially clever—and pertinent–color scheme in some of the more ‘political-charged/politically cogent segments by slyly coloring the stage in “Blue” and “Red” lights, (perhaps pointing toward the ever-present partisan divide that has always been a part of history, but in a way that comments on our own situation today.) Let’s not forget Musician Coordinator Jeff Segal, who adeptly oversees the six piece orchestra—many musicians contributing more than one instrument to the symphonic goings-on. Musicals run on all the sharps, flats, chords and strains, this group contribute and its safe and sincere to add that they don’t miss a note! (They even throw in a few unexpected orchestral variations here and there, giving a handful of numbers a fresh new sound!) 

With shows of this quality, here’s to another twenty terrific years for “One More Productions” at their home at “The Gem”! After “Previewing” on Thursday, February 22^nd and Friday February 23^rd,” Pippin” officially opened Saturday February 24th where it is slated to play through March 31st, 2024, at “The Gem Theatre”, located at 12852 Main Street, in Garden Grove, CA. Showtimes are Thursdays, Fridays & Saturdays at 8:00 PM, with Sunday Matinees at 2:00 PM. (Please note there will be no performance on Saturday, March 16^th). Special discounts are available for Seniors (65+) and Kids (12 and under) for all showings while Student Discounts are also being offered for all Thursday and Friday performances. For more information or to purchase tickets, call One More Productions at (714) 741-9550, or visit their website at www.theGEMoc.com .

Production Photos by Ron Lyon www.ronlyonphoto.com Courtesy of “One More Productions” www.theGEMoc.com ; Special Thanks to Damien Lorton, Nicole Cassesso, Dan Baird, Lexi Cross, Angela Mattern, Nicki Snelson, Victor Crisafulli, Shoko Araki, Ron Lyon, and to the cast and crew of “One More Productions” 2024 Production of “Pippin” for making this story possible.