PIPPIN (Performance Preparation Academy)***

 

By Louise

Link: https://www.ticketsource.co.uk/performancepreparationacademy/pippin/e-rqeaab £22 adult, £17 concession, PPA graduate £12, PPA student £5. + booking fee

Available until: Further livestreams on Thursday 3^rd, Friday 4^th and Saturday 5^th December at 7pm and a matinée on Saturday 5^th at 2.30pm

Age guidance: 12 (adult themes)

Pippin is a play within a play. A group of Players put on the play, which is a historical story from the time of Charlemagne/Charles I of France. At first, I wasn’t sure why there was a play within a play, but at the end, I think I worked it out and it made sense. If I’m right, I’m sure you’ll work it out too. If I’m wrong, that won’t surprise me at all.

Pippin is Charlemagne’s oldest son and he isn’t really sure what he wants to do with his life. He returns home after completing his education and he tries out a few different things. I’m sure it’s a story a lot of people can relate to. I know I want to be an obstetrician, but I’m only fourteen (fifteen on Christmas Day) so I might change my mind and I know that some plans don’t work out so it’s a really interesting story that looks at a lot of the things which a lot of people might be considering. Maybe even more now when lots of professions are really struggling. Including the profession the performers in Pippin really hope to go into.

Pippin has a number of important male roles, but the whole cast in this production is female. I’m so used to females playing male roles, it was something I noticed when I looked at the cast list and then forgot about. All that really matters is that the actor can play the role – and they all can. It could theoretically be confusing for audiences who don’t know the story and are trying to work out who everyone is, but there is a certain amount of that in any play and you can work out who most people are just from hearing the characters’ names.

Alexandra Summer-Hughes’ production is mostly very slick. Characters go on and off and they move the scenery around in a barely noticeable way. But every so often, there is a moment where the action slows and the emotion hits you. The characters are fun and although they have been created with an element of caricature, I feel like the actors tried to put as much depth into them as possible.

There is a lot of dancing in Pippin. Jordan Isaac has given the cast quite athletic choreography, but it’s precise and powerful. The singing is powerful when it needs to be and really moving when it needs to be.

Ellen Eckersley is a good Pippin, easily communicating his many dilemmas and showing the way he changes. She sings well too and she has a lovely onstage relationship with several characters. Olivia Mitchell as the Leading Player doesn’t have a story as such, but she has an incredible amount of stage presence and a very impressive voice.

Georgia McElwee is quite overbearing as Pippin’s father Charles and has a kingly presence. Charley Webster’s glamorous Fastrada is a lot of fun. Cara Benneyworth’s Lewis is slightly bratty but in a very sweet way. His grandmother Berthe (Katie Stas did really well at playing a character who is likely to be at least forty years older than she is) is full of character.

On this travels, Pippin meets Catherine (a lovely performance by Hana Padgett) and her adorable son Theo, who is played by Lauren Hillman. The Players are good too.

I enjoyed most of this musical, but maybe it isn’t a good one to watch if you really love ducks.