Playwright: Stephen Schwartz (music and lyrics), Roger O. Hirson (book). At: Circle Theatre, 1010 W. Madison St., Oak Park. Tickets: www.circle-theatre.org; 708-660-9540; $27.90-$29.97. Runs through: Dec. 23
I picture the original director and choreographer of Pippin, the great Bob Fosse, imposing his ideas upon his collaborators and saying repeatedly, "Don't worry, I can make it work." Everything gave way to Fosse's dazzling vision: a coherent book, a strong score, even the emotional arc. His dance-centered show did work, assisted by a brilliant cast, but it was something others could not replicate. Pippin never has worked as well in its 40-year post-Broadway life, which undoubtedly was the attracting challenge for Kevin Bellie, a director and choreographer long undervalued within Chicago's theater firmament, now stepping down as Circle Theatre artistic director after years of leadership.
Bellie knew Pippin demands high concept and strong style. His solution is Pippin in the style of a Bollywood musical extravaganza. Why not? So much of Pippin is a celebration of things sensory and sensual that swirling incense, brilliantly colored fabrics and Kama Sutra choreography must have seemed an inspired marriage, but it's more like a shotgun wedding.
First, you should know that the show looks gorgeous on Bob Knuth's mogul-influenced set, with the sinewy cast wearing Jesus Perez's splashy Hindu-psychedelic costumes. Bellie's choreography, too, is suggestive of both Indian Bollywood pop dance and Fosse hip-swiveling. At times it's just plain suggestive as in the Act I pansexual orgy number.
However, the music suffers in the effort to force some Schwartz tunes into tabla-beat rhythms, and the show only had three or four strong numbers in the first place. Songs such as "Corner of the Sky," "Time to Start Living" and "A Love Song" survive reasonably intact while othersamong them the crucial opening numberdo not.
The shotgun marriage also sets up distinct culture clashes as the characters talk about the spread of Christianity and killing non-Christian infidels, all within a setting that suggests a Hindu culture. One scenic device even features the Hindu god Ganesha.
These issues aside, Pippin has a problem virtually no high concept can overcome: It's a cynical show with a coolly hip but uncaring vibe. The central figure, Pippin, oldest son of King Charlemagne, hardly is heroic. Only his social status elevates his picaresque journey of self-discovery, an otherwise-commonplace journey which never truly ends. The show winds up arbitrarily and inconclusively without providing the audience, or Pippen himself, with emotional closure.
As usual, Circle Theatre has assembled a talented cast with boyish Neil Stratman (Pippen) and viperish Christopher Logan (Lead Player) headlining the troupe. In support, Jennifer Bludgen (Fastrada) and Patti Roeder (Berthe) provide big voices and sure comic chops, while Khaki Pixley offers a sympathetic Catherine. It's not a South Asian cast, which may not be PC, but is indicative that Bollywood style now is international.
Photo caption: Steve Greist, Nyk Sutter, Shawn Quinlan, Jennifer Bludgen, Christopher Logan, Nico Nepomuceno. Circle Theatre is staging a Bollywood interpretation of Pippin. Photo by Tom Bludgen