Review: Pippin, at the Charing Cross Theatre, London

So after Hairspray and saying goodbye to my parents, I got some food and prepped for my next show: Pippin at the Charing Cross Theatre, the London transfer of the production at the Eagle Pub that took place last year. 

It’s my first visit there - and I always want to try and visit a couple of new places if I can. Situated right under Charing Cross station, it’s only a tiny theatre, about the size of the Hope Mill (ironically where I last saw Pippin). Sometimes you could hear the trains chuntering above you, like in the Kings Cross; and it did sometimes add to the mood, particularly in a tense or dramatic scene. Not like when I saw In The Heights and all you heard in the first part of Alabanza was a train going past….. 

Anyway, onto Pippin, it tells the story of a young Prince’s search for the meaning of life; as an extraordinary person, he thinks he’s set for extraordinary things - but where does each thing leave him? And will he go out in a spectacular finale as we are promised by the mysterious Leading Player earlier on in the show? 

This Pippin is very different design-wise to the first time I saw it. While at the Hope Mill it was inspired by cabaret and mime, with ostrich feathers and a lot of black and white everywhere, this one took us back to 1967, aka the Summer of Love. 

Dangling above the ceiling were dream catchers, fair lights in jars, and festoon lighting dangling from bark and driftwood. A sun was painted onto the stage and tie-die brightly coloured prints were draped from the balcony of the stage. The actors were all dressed similar to those of the tribe from Hair. In fact coincidentally, 1967 was the year Hair opened on Broadway - it was the height of flower power. Just shows how versatile a piece this one is. 

The company was small, only consisting of 8 actors, featuring Ryan Anderson reprising his role of Pippin from the Eagle, Natalie McQueen (Wonderland) playing Catherine, and Genevieve Nicole, who played the Leading Player in the Hope Mill, this time playing Berthe. She was fabulous, mainly as she was the one who could let her hair down the most and have fun: her song No Time At All is the one with audience participation after all. 

I also loved the choreography in this - it was very earthy, grounded and acrobatic, showing off each performer’s strengths. Fastrada and Pippin’s dance solos in Spread A Little Sunshine and On The Right Track were particular highlights. When I checked the programme for the choreographer.. Nick Winston - I shouldn’t have been so surprised!!

If I can have one gripe though: it’s with the theatre itself. 

Allow me to explain: so I sat on the balcony (‘cause it was cheaper of course), and I got there and all the seats were not facing the stage… So my thought was “ok, so maybe they swivel”. Sat down and they did not swivel. So I was now on the end balcony seat and had to turn around and crane by back/neck to see anything. Thankfully there was only one other lady on the balcony, so I was able to move further down so I wouldn’t have to crane my neck as much - but come on Charing Cross. Either put swivel chairs, stools, anything, so long as we don’t have to worry about neck problems when coming to see your shows…?!

BUT having said that, I will say that we were still treated the same as the folks sitting in the main auditorium, particularly by Anderson. I remember him giving direct eye contact while he sang Corner of the Sky (very well I may add). He made me and the other lady feel included in the audience and would like to thank him for that. 

Pippin is running until 3rd October. If you want to give this a shot, I would definitely say it is worth a chance. It’s one of Stephen Schwartz’s best scores in my opinion, with numbers like Morning Glory giving you as many chills as some of the bigger moments from Wicked. 

Only piece of device: DON’T go for the balcony seats…!