This production brings out all of the fun and joy to be found in Stephen Schwartz’s musical.
Celebrating its 50th anniversary, Stephen Schwartz’s musical is given a wonderful revival courtesy of Jonathan O’Boyle’s fun and joyous production that shows just how a concert production of a musical should work with confidence – particularly when it comes with a stellar cast.
Admittedly, the story of a young prince Pippin trying to find meaning and purpose in his life through a variety of ways feels a little bit flimsy, which is perhaps why this concert production feels easier in leaning towards the power for the music rather than the story itself. It works confidently for the most part but there are still moments in which during the first half the plot is a little muddled, until they are hastily explained by Alex Newell’s Leading Player.
This being said, this is a musical that breaks boundaries in many ways, highlighting the way in which Stephen Schwartz is able through his music and lyrics to explore the human condition. Through songs such as the delightful ‘Not Time At All’ (which allows the audience to sing along – really reinforcing its message beautifully), performed with great heart and sincerity by Patricia Hodge as Bertha, there is something that we can all take away from these songs. Thoughtful and insightful, you can get a sense of the magic that Schwartz had in mind for Wicked. His score is exquisitely performed by the ever reliable London Musical Theatre Orchestra who give each song extra texture and emotion.
They were joined by fifty students from the ArtsEd Choir – once again showing the power and value of the arts. Their harmonies were consistently pitch perfect.
For a concert performance of a musical (which some can occasionally feel a little too straight and stilted), this one really leans into the fun. Jonathan O’Boyle embraces the comedy and the breaking of the fourth wall so that audiences can feel throughly involved thanks to the way in which he gets the cast to interact with them. This is further enhanced by Polly Sullivan’s costume designs and Joanna Goodwin’s choreography which in places brings to mind acclaimed choreographer Bob Fosse (who did in fact direct Pippin on Broadway).
Despite a few sound issues along the way which meant a couple of things were missed, this cast are a complete joy to watch bring their characters to life. Alex Newell as The Leading Player brings stunning vocals and plenty of sass to the role which makes for a captivating performance – their rendition of ‘Glory’ is just one shining example of this. Jac Yarrow as the central character Pippin adds real charm and naivety that can’t help but help make you yearn for him to find his purpose in life or be satisfied with what he has. Lucie Jones as Catherine is a comic joy (even if her character plays on stereotype – not her fault just the way in which the character was written). Cedric Neal as Charlemagne has a great flamboyancy and comic timing that works perfectly for his character and Patricia Hodge is clearly enjoying her role as Berthe. Zizi Strallen feels underused as as Fastrada – but adds a brilliant seductiveness to her character that is compelling to watch.
This was an engaging and entertaining way to experience this show and if they were to put this cast together again for a full production, I would be more than happy to catch it again.
By Emma Clarendon
*disclaimer* – this ticket was gifted by PR in return for an honest review.
Rating: ⭐⭐⭐⭐