If you’re looking for a feel-good, festive rollercoaster of a show to take you flying through the Christmas holidays and out the other side, look elsewhere — because Pippin isn’t it.
It says something about the cultural differences between the UK and the US that the show has been lauded and revived time and again across the Atlantic, following its initial Broadway mega-run of 1,944 performances, while here in the UK it limped along, closing after just 85.
It’s something of a wonder, then, that Above the Gatehouse should choose it as their Christmas offering — traditionally the point in the year when box-office certainties help subsidise more risky fare later on.
As with so many of Stephen Schwartz’s shows, the problem lies not with him, but with the book.
Pippin tells the heavily fictionalised story of Charlemagne’s eldest son, Pepin, a Dark Ages Frankish prince. In this version, the titular character thinks himself better than everybody else and embarks on a journey of ‘self-discovery’ which includes plotting to overthrow his father (and being discovered), banishment, meeting a young widow and falling in love, and finally realising — too late — that he has no idea what the point of it all is.
It’s not an uplifting tale. Pippin is selfish, a passive protagonist for large stretches of the show, and by the time he finally evinces any redeeming qualities you really couldn’t care less about him.
The writers have tried on many occasions to make it work, adding a framing device (it is now the story of Pippin as told by a troupe of travelling players or circus performers). For the past thirty years there has also been an afterthought of an ending tagged on, designed to make you feel you haven’t been short-changed by the preceding two and a half hours — but to no avail.
The fact that I’ve given it three stars, however, is entirely down to the peppy cast, a couple of whom are making their professional debuts.
Top of my list for entering with star quality is Mia Quimpo as Catherine, the young widow. She has a riveting stage presence that is a joy to experience and, mark my words, the voice of a star in the making.
A shout-out too to Daniel North, who plays Pippin’s dim brother, Lewis. What a mover.
Elsewhere, Lewis Edgar is a sound choice in the thankless title role. Emily Friberg, as the Leading Player — a cross between ringmaster and narrator — has a very fine voice; Clare Brice enjoys a great rapport with the audience during the obligatory sing-along; and Oliver Wood brings welcome weight as Charles (Charlemagne). These, along with the other supporting players, do their very best to lift the material through some nicely drilled, fairly acrobatic dance routines directed and choreographed by the ever-reliable Amanda Noar. Oh, and there’s even a cute child thrown into the mix.
But the show? If you don’t care whether your protagonist lives or dies — and I really didn’t — it makes for a very long evening in the theatre. In this case, all the longer for the aforementioned tagged-on ending, which extends Act Two by a good ten minutes after the show should have ended.
There are plenty of reasons to support fringe theatre, and there are many reasons to see shows at Above the Gatehouse.
Cast aside, I’m afraid Pippin isn’t one of them.
Book: Roger O Hirson
Music & Lyrics: Stephen Schwartz
Starring: Lewis Edgar, Emily Friberg, Mia Quimpo, Clare Brice, Helena Caldas, Oliver Wood, Daniel North, Imogen Amos, George Kipa
Until: 11th January 2025
Running time: 150 minutes including 1 x 20 minute interval
Date Seen: Wednesday 17th December 2025
Photo credit: Inigo Woodham-Smith