Pippin – Pied Pipers Musical Theatre Club. ADC Theatre, 30th April 2025

A coming-of-age story of kinds, Pippin explores themes of fulfilment, inner demons, and eventual compromise. Written by musical theatre royalty Stephen Schwarz, it was then adapted and expanded by legendary choreographer Bob Fosse into a much darker show, brimming with spectacle that helped it become a Broadway hit. Schwartz later removed much of Fosse’s influence, then added some back, and in the version for this run, Pied Pipers also have an ending conceived by Mitch Sebastian. This process has produced a somewhat disjointed work, which leaves a cast and creative team with some “Magic to Do” to bring it to life. 

First credits must surely go to the set and lighting designers (Jemima Gravatt, and James Ireland). I’ve scarcely seen a more striking use of lighting on the adc stage, including the beautiful custom light arches, visible onstage before the show starts, and a host of different effects which successfully conjure innocent whimsy, bleakness, and sinister horror, on to an otherwise almost bare stage throughout. There is some inspired use of the adc’s often-overlooked trap door, and the show runs very smoothly (bar the odd late spot, and dead mic), so huge congratulations to the whole technical team. 

We are guided through Pippin’s story from the outset by a narrator and puppet-master, in the character of the Leading Player – sung gloriously, danced astonishingly, and acted expertly by Helen Petrovna, whose extensive professional credentials are on clear display, including an entire number delivered on roller skates! 

Pippin is a young man fresh out of university, hungry to find his life’s purpose, who grasps at war, family, power, and sex in a bid to find lasting satisfaction. The creative team must have found it hard to hide their delight when Oliver Oxley stepped into the audition room, himself a young man fresh out of studying acting at Anglia Ruskin University. I imagine this helped him to embody the desperate innocence and subsequent journey into disillusionment that the role demands. He sings beautifully, with an enviable top to his voice, and dances well. 

The supporting cast are equally impressive. Scott Riley plays a bombastic but wordly-wise King Charlemagne very well, and is paired with the irresistibly charming Christine Poole as gold-digger wife Fastrada, who performs impressively. Next to the family mix comes muscular meathead step-brother Lewis, delivered with great mummy’s boy energy by Alex Butcher. Finally, Pippin’s grandmother Berthe, is given a show-stealing outing by Mandy Jeffery, who acts and sings her spirited plea to Pippin to live in the moment with great power and conviction. The second half sees the introduction of Pippin’s love interest and eventual saviour (?), in the character of wealthy widow Catherine, played with enormous wit, pathos, and depth by Catriona Clarke. Her singing is captivating, and the straightforward realness with which she portrays Catherine stands in stark contrast to the fantastical surrealism going on around her. Last, but not least, hats off to George Fisher, who delivers the role of Catherine’s young son Theo brilliantly. 

With Bob Fosse’s deep influence on its development, the show would obviously be nothing without its many dance numbers, and choreographer David Mallabone makes absolutely certain that Fosse’s DNA runs throughout the show. He has assembled and trained a superb ensemble, who dance every set-piece – whether sinister, sexy, or silly – with crispness and dazzling energy. Only in the wonderful marionette-inspired dance, with its very high demand for synchronisation, does it feel like the ensemble are nearing the limits of their vast talent. Credit must also go here to the costume design by Carol Bye, and her army of assistants – the updated commedia dell’arte style of the outfits, and choice of colour palettes really enhance the visual aspect of the show, particularly for the ensemble. 

The whole cast also sing fantastically well, and indeed I can’t find any fault at all with the musical performances, either by the cast or the band, which is great credit to them all, as well as the talent and experience of musical director Ana Sanderson.  

It is clear, both from the notes and from this production, that this show is close to director Emily Starr’s heart. She has shaped a really stylish, multi-layered telling of a story that touches on some very challenging themes, with obvious care and attention to detail.  

I must admit however that personally I still don’t find myself convinced by the show as a piece of theatre, and the job of setting the right tone in each scene, and stitching its jumbled assemblage of parts together to a satisfying whole is one that may always be undermined by its writing. However, if you’re going to tell this story, you simply couldn’t ask for a better, more polished, and more magical version than this by the Pied Pipers. 

Photos credit: Peter Buncombe Photography.