Barn Players "Pippin" review by AWjames

Musical Mediocrity
Rating: 3

Pippin
The Barn Players, Inc.

Don't let the title of this review fool you, I enjoyed the show. There were many qualms I had with it though.

First of all the musical itself. Pippin is not Schwartz's finest musical by a long shot. Of course, before coming to any show one must have some knowledge of the content and the origin of the show. Pippin was a project put together by Schwartz while he was in his undergrad at Carnegie Mellon. After success with Godspell on Broadway Schwartz decided that it would be a good idea to put Pippin forward for producing. Regardless of the long run and popularity I find this show obscure and generally without focus. The music having strong 70's pop style lacks complexity and interest - as most 70's pop does.

With that aside I thought this production was decent.

The director, Nathan Norcross, a young man who originally comes from KC, received his BFA from NYU. He is now back in KC for the last couple of ears acting and directing. This is his third production at the barn (if I am correct - Closer and Private Eyes) and his first musical in this space. For this particular production Mr. Norcross has tried to pull together a complete and thought out production - and for the most part he has succeeded - I feel that he may have been between a rock and a hard place. The show itself is not easy to work with and I find it to be truly lacking. And the other end of that is his cast. Casting a show such as this from a pool that I am sure is shallow must be difficult. I applaud his effort and look forward to attending his shows in the future.

This production began with an interesting convention that I won't give away if you plan on seeing it but Norcross has rewritten the top of the show to make it seem much more spontaneous and individual.

The Leading Player played by Joshua Pulos began the show by himself and ended it that way. I thought to myself when he appeared in the audience at the top of the show that this actor may take the leading player over the edge. Contrary to popular belief and as this part is often played, he is NOT the focus of the show. Quickly into the first act I was relieved to see that Pulos was wandering in and out of the scene shaping the action while drawing just enough focus to propel the scene forward. The combination of Pulos and Norcross' for the most part, seemed to work well and keep the show moving at a surprising pace. Vocally I felt Pulos has an incredible range and unique tone. It is obvious he is a strong vocalist but I was often distracted by excessive vibrato. Pulos creates a dark and brooding Leading Player that I find truly interesting but I occasionally lost interest due to Pulos' lack of physicality. The blocking and choreography was there but often the characterization was not fully physically connected.

Pippin Played by Rob Constance (that evening) was youthful and eager. As a young actor Constance still has a lot of growing up to do. The character of Pippin is naive which Constance captures well - whether this is a choice on his part or not is a matter of opinion. Vocally, Constance, seemed to struggle to reach some of the higher notes and was often searching for the correct note. He lacked confidence and style. I found some of his vocal runs uncomfortable and lacked focus. Constance seemed somewhat comfortable on stage and for the most part held his own against other players.

Charles played by Scott Powell was strong and entertaining. With a highly presentational style Powell brought the ruthless ruler a sense of humor and depth. What I found most interesting about Powell is his mastery over his voice. Powerful and booming at moments and delicate in others. My main issue with Powell was his ability to move freely on stage - I understand not being a gifted dancer but Powell seemed to be very focused on what the steps were and not so much on how he looked doing those steps. Overall a solid performance.

Catherine played by Mackenzie Zielke was the highlight of the evening for me. I have seen Zielke in a few other productions around town and I am never disappointed she is a talented singer and a capable actress. In this production she brings a sense of grace that is not found in the rest of the cast. Her gentle and sensitive portrayal of this character was for the most part moving.

The rest of the cast were entertaining and adequate. They moved in and out of the scenes fluidly and kept the show moving.

The orchestra of this show was also a highlight. They provided an immediate sense of the scene. The talent of this group was immense. I never heard a wrong note or improper start - although I was not looking for imperfections none were glaring. Good work!

Technically this show was decent. The sound for the show was for the most part quality. There were moments of crackle or other issues but overall not bad. I could hear everyone that I needed to hear. The lighting by Sean Glass and Russell Langdon was good for what the space can offer. I especially liked the use of sidelight to help shape the actors and provide bold strokes of color and emotion. If I am correct, this is both of the Lighting Designer's second show at the Barn and I feel more successful than their previous. The set was simple and prop centered but justified and appropriate. Costumes were well done with pleasing color palettes and generally flattering silhouettes.

Overall, the show was entertaining with a quick pace and catchy numbers. The energy of the cast is refreshing but the lack of audience members was HIGHLY DISAPPOINTING! I am an avid supporter of KC theatre so go see it! The artists in this town need our support.

Good work all and I look forward to seeing you elsewhere on stage.

Read the review at KC Stage