The show shimmers with proud performances that would surely make the real Margaret Brown smile and inevitably unleash some cantankerous, benevolent quip
“It’s difficult not to become emotional at this realization of the show’s impact,” said Thomas Schumacher, president and producer at Disney Theatrical Productions.
While the script is clever, the thinness of the spectacle — which the author himself insisted upon — is sadly deflating, as if the audience is being asked to watch an early rehearsal instead of a polished jewel demanding $60 for even the worst seats.
To be fair, it’s pretty damn hard to nail the middle ground between The Rocky Horror Picture Show and The Man With The Golden Gun that the show sadistically requires.
The entire cast, and it’s a pretty big one, delivers one astonishing number after another for the entire show
The cast as a whole delivers on an expertly-woven, topsy-turvy dialogue and consistently hit their caustic quips as if they were playing a three-hour game of bookish whac-a-mole
Filled with astounding circus-like acrobatics, Pippin boasts the frenetic awe of Cirque du Soleil, the grace of a Verdi opera and the edgy choreography that made Bob Fosse a Broadway god
In each scene, rather than stretching themselves to their limits, the cast pushes past the limitations of the play to deliver all the audience can take.
“There’s a whole new dimension here. It’s like being in some crazy dream. I’m just the luckiest kid on earth,” Thomas said by phone from Denver. Rubinstein agreed in a separate call: “To me, the idea of the old Pippin and the new Pippin being on the same stage — I love that.”
You don’t realize how odd the bonds and habits between masters and dogs are until you’ve seen them inflicted on a human pretending to be a dog. Ear rubs, butt pats, eye gunk, leg humps and “the stare” are exposed for how strange they really are in this intimate, introspective comedy.