Pippin-Review-Revolution Stage Company-One Mann's Opinion

Revolution Stage Company’s production of Pippin is a vibrant, "Fosse-infused" triumph that breathes new life into Stephen Schwartz’s classic musical. While often overshadowed by Schwartz’s later hit Wicked, this production reminds audiences why the story of King Charlemagne’s son remains a theatrical staple. The plot follows Pippin, a young dreamer searching for an extraordinary life through war, carnal pleasures, and politics, only to find himself empty until he encounters the simple life of a widow named Catherine.

The production is anchored by the dual talents of Nathan Wilson, who not only delivers a charismatic performance as the Leading Player but also serves as the director and choreographer. Alongside him, Bruno Satalino portrays Pippin with the necessary earnestness to make his "frantic flight" for meaning feel grounded. The supporting cast shines through, particularly Sonia Reavis, whose rendition of "No Time at All" as Bertha is a genuine showstopper, and Billy L'Amour, who manages to make the scheming Fastrada both devious and likable.

What elevates this specific production is the decision to use the revival ending. Rather than a simple story of a man accepting an ordinary life, this version presents a haunting cycle, suggesting that every generation is susceptible to the "Leading Players" of the world who promise glory at the cost of self-destruction. This "gut punch" finale provides a thoughtful, dark weight to the second act that resonates long after the curtain falls.

With breakneck pacing, evocative lighting by Duke Core, and infectious energy from the ensemble, this is a must-see for fans of community theater. It hits its mark 99% of the time, proving that there is still plenty of magic left to do.