|Photo by Joan Marcus|
The other unforgettable performance in 1973 came in the form of a decidedly non-theatrical performance by 69-year-old Irene Ryan. Her fame stemmed from her casting, in 1962, as Granny in the sitcom "The Beverly Hillbillies." In Pippin she played another granny, stopping the show every night with "No Time at All." The new revival gives us Andrea Martin, who unlike her predecessor is about as theatrical as they come. If Ryan was delectable in her singing of the song, Martin's entire performance — every time she blinks an eye — is an artistic triumph. Plenty of people are likely to follow in Martin's footsteps over the years, especially if Pippin runs half so long as the revival of Chicago. I expect they will all do well in the role and earn wild cheers for the showstopper at every single performance, but I would say: Go out of your way to catch Martin.
All of which is to say that Vereen and Ryan — the two performances that a viewer (or a listener to the cast album) might reasonably cherish — have been replaced by people who are just as effective. As for the rest of the original Broadway cast, I must confess that I liked but wasn't especially enthusiastic about any of them, except the dancers. So there is no appreciable fall-off from the other principals. Matthew James Thomas does fine as the title character, and Terrence Mann brings a much-appreciated musical comedy sense to the role of Charles. The hidden weapon of the enterprise is Rachel Bay Jones, who takes a role that seemed incredibly dull when Jill Clayburgh did it in 1973 and turns it into the heart of the show.
Let us also comment on the orchestrations. The late Ralph Burns was a genius, who provided immeasurable lift to No Strings, Little Me, Sweet Charity, No, No Nanette, Chicago and more. Larry Hochman has provided a new set of orchestrations for a twelve-piece orchestra, and, as with Patina Miller and Andrea Martin, the work of the originator is not at all missed.
And for the personal Pippin in you (and Leading Player or Catherine as well), Ghostlight has included four extraordinary bonus tracks — which is to say, the full orchestral accompaniment (less vocals) to "Corner of the Sky," "Simple Joys," "Kind of Woman" and "Extraordinary." So you can close the doors and windows, and sing 'em yourself. Loudly.
(Steven Suskin is author of "Show Tunes" as well as “The Sound of Broadway Music: A Book of Orchestrators and Orchestrations,” “Second Act Trouble,” the "Broadway Yearbook" series and the “Opening Night on Broadway” books. He can be reached at Ssuskin@aol.com.)
PHOTO EXCLUSIVE: A Magical Two-Show Day at Broadway's Pippin With High-Flying Acrobat Viktoria Grimmy
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