I took your advice, Christopher and I'm so glad I did! I was Stage Manager for a production of Pippin in college some *cough*irty years ago so I know the show well! This production, while quite faithful to the original, introduced a wonderful new flavor. Circus. Fantastic production!

Take the man's advice! Go!
I didn't see your comments about the show until tonight, but last week I went at the urging of a friend who'd seen the Broadway revival numerous (yeah, he's that kind of freak) times. I didn't realize until the day of the show how many of the Broadway cast members were in the touring production, much less the legacy of Patrica and of the original Pippin acting now in the role of the king. I was very fortunate to get a ticket that I thought was in the third row, but turned out to be in the first. When the cast first came out and sang as an ensemble, Patricia stood in front of me and was very engaging. We shared a double thumbs up. It was a moment. I totally get the love of this show! It was, at least the first half, was one of the most enjoyable theatrical experiences I'd had to date.
Way to overhype a show, Christopher. We went last weekend to the Sunday matinee and found it to be a poor man's version of Cirque du Soleil. The book and music are very thin soup. Some of the dancers looked like they were phoning in the faux Fosse choreography. The acrobatics are fine but if you've ever seen CdS you know that they're very basic. The one point of agreement - Priscilla Lopez is indeed amazing.

A surprising number of people left during intermission. I overheard one woman say before leaving "There's an hour and a half of my life I'm not getting back." My review would be: It's okay, but save your money for the next Cirque du Soleil tour if you really want to have your mind blown.
I saw this production twice in New York in the span of a couple of months. The first time, Christopher Sieber was filling in for the vacationing Terrence Mann in the role of Charles. The second time, Mann was back and Tovah Feldshuh had replaced Tony-winner Andrea Martin as Berthe.

Feldshuh was excellent, but she didn't — as Martin did — sing an entire verse of "No Time At All" suspended horizontally at the waist, held by a guy hanging upside down from a trapeze fifteen feet above the stage. And while Sieber did a great job, he didn't ride a unicyle; Mann did.

As for John Rubinstein, who created the title role in Pippin in 1972 and is playing Charles in Seattle: I saw him about 15 years ago in Vancouver in the Canadian tour of Ragtime, in which he played the immigrant-artist-turned-film-mogul. He was also a longtime host of classical music programs on public radio; it was there, from him, that I learned it's "Andrew car-NEG-ee", but "CARN-uh-gee Hall".

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