Blank Canvas Theatre’s ‘Pippin’ has us trippin’ in the way back machine

Photo By Steve Wagner

Back in the hippy dippy 60’s and 70’s that many oldsters vaguely yet fondly remember, unconventional experimentation was “the thing”. It was a time of egregious behavior in regards to drug use, alcohol consumption, music, sex, dress, attitude, personal freedom and theater. “Sex, Drugs and Rock and Roll” was more than a slogan...it was a lifestyle and a fun one at that!

A firm line was drawn between the establishment (aka “The Man”) and the free wheeling hippies (aka “The Freaks”). Everyone knew who they were and what they were about. Shows such as “Hair” 1967, “Jesus Christ Super Star” 1970, “The Rocky Horror Picture Show” 1973, “The Wiz” 1974, “A Chorus Line” 1975 and etc. were all the rage and reflected on the new norm.

In 1972 a new musical by Stephen Schwartz with book by Roger O. Hirson hit the Broadway stage. Bob Fosse directed the original production as well as contributed to the libretto. “Pippin” was a dark and groovy spectacular set in the trippy Middle Ages as a coming of age show within a show.

Originally conceived as a student musical titled “Pippin, Pippin” performed by the Carnegie Mellon University’s Scotch ‘n’ Soda Theatre Troupe the show was written by Stephen Schwartz and Ron Strauss. When Schwartz wanted to evolve the show into something more, Strauss left. What we have now has little resemblance to the original college production. The newly minted show went on to Broadway and is listed as the 37^th longest running Broadway show.

Leading Player (Lindsay Pier) along with the members of a traveling performance troupe (The Players) invite us to witness their show (“Magic To Do”). Pippin (Benson Anderson) is introduced as a freshman actor making his stage debut. He is the first son of King Charlemagne (Brian Altman), aka Charles, who is married to the conniving Fastrada (Chrissy Margevicius) who plans to have her son Lewis (Andrew Maust) eventually take over the throne.

Having returned successfully from University, Pippin addresses The Players concerning his lack of focus as far as what he wishes to do with his life (“Corner of the Sky”). When Pippin returns home to the castle his alone time with Charles is constantly interrupted by various nobles, soldiers and courtiers vying for attention (“Welcome Home”). Pippin meets with his ambitious step mother and her muscular but dim witted son.

Charles is planning with Lewis to battle the Visigoths and Pippin begs to be allowed to tag along. Charles is reluctant but agrees as Pippin continues to interrupt his explanation of the battle plan to the troops (“War Is a Science”). During the battle, Pippin kills an enemy soldier much to his disgust. Back in the camp he has a discussion with a severed head from an enemy soldier as he realizes the futility of war (“Glory”)

Pippin flees to the countryside (“Simple Joys”) where he meets his paternal grandmother, Berthe (Neda Spears) who was exiled by Fastrada. Her advice to the lad is to stop worrying about the future as it will be here soon enough (“No Time At All”). Instead, take the time to enjoy all the pleasures and comforts that life has to offer.

With this in mind, Pippin dives headfirst into a hedonistic lifestyle of multiple meaningless sexual encounters with both genders but is soon overwhelmed by this pointless pursuit of pleasure (“With You”). Pippin dismisses his lovers as he finds that relationships without love are empty and vacant. Go figure.

The Players enter to enlist Pippin in a revolutionary cause against his father’s tyrannical ways. Fastrada learns of Pippin’s newest cause and realizes that she cannot lose. She sets up a meeting of Charles and Pippin in the chapel (“Spread a Little Sunshine”). Pippin confronts his father about his past sins. Charles explains that cruelty is necessary to achieve order. Pippin kills his father (not to worry, Charles is revived in the second act). As The Players announce that they will be taking a short break.

First a word about the costuming. Designer Jenniver Sparano hit a goldmine of 70s fabrics and incorporated them into each and every costume. The brightly bold patterns are used as Charles sash, various headbands, dress accents and pants additions. The pattern also appears in Patrick Ciamacco’s graphics. As for the stage set, Patrick begins with a black wall with a single ghost stage light in the center. As The Players arrive they install various cloth pieces with video projections turning the stage into a hip circus tent. Brilliant!

The sixteen member cast is absolutely superb both as a singing and dancing ensemble as well as in their individual solos. Special mention goes to Benson Anderson as Pippin who has an amazing vocal range, Neda Spears as Berthe who stopped the show, Stephanie Harden as Catherine with her beautifully gentle singing voice, Brian Altman as Charles who was perfectly cast and Chrissy Margevicius who really played up her conniving ways. The eight piece orchestra under the direction of Matt Dolan brought some great elements to the music including some very sweet flute passages. The show is well directed by Patrick Ciamacco who also did the sound and lighting design. Katie Gibson did an outstanding job with the circus infused choreography.

This is one of the shows that defy definition. It could be billed as a psychedelic circus influenced historically flavored romantic coming of age dramedy...but by any definition, this production is simply GREAT! High energy throughout with a lot of heart and life lessons. Well worth seeing.

Blank Canvas Theatre’s production of “Pippin” will be on stage in the 78^th Street Studios located at 1305 West 78th Street, Suite 211 through August 9, 2025. For more information and to order tickets go to http://www.blankcanvastheatre.com or call (216) 941-0458.