Pippin Magic to Do: Pippin Magic to Do is a famous musical that first premiered on Broadway in 1972. It was created by Stephen Schwartz, who is also known for other well-known musicals like Wicked and Godspell. The musical tells the story of Pippin, the eldest son of Charlemagne, the medieval king. The show begins with the leading player, a mysterious and charismatic character who serves as the narrator and guides the audience through Pippin's journey. Pippin is on a quest to find meaning and fulfillment in his life. The leading player presents a series of temptations and opportunities for Pippin to explore.
Pippin has music and lyrics by Stephen Schwartz, a book by Roger O. Hirson, choreography by Chet Walker, and circus creation by Gypsy Snider.
The Japanese-language production of the Tony-winning revival of Pippin, directed by Tony winner Diane Paulus, reopens August 30 at the Tokyu Theatre Orb, continuing through September 19. It was especially noticeable in the isolations of the hips that looked more like twerking and the movements of the arms that looked more like a bird flapping then a directed movement coming from the back.
The leading player presents a series of temptations and opportunities for Pippin to explore. Throughout the show, Pippin is faced with various challenges, including warfare, love, and power. The musical tackles themes of identity, purpose, and the search for happiness.
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Description
In Magic to Do, which celebrates the 50th anniversary of Pippin's opening, two-time Pulitzer Prize jury member Elysa Gardner turns her attention to this innovative show, the musical retelling of the story of Prince Pippin, son of Charlemagne, and his quest for an "extraordinary life." Magic to Do dives deep into the legendary clashes, backstage drama, and incredible artistic synergy that produced one of Broadway's most influential musicals, a show that paved the way for the pop-informed musicals that we know and love today. Full of big personalities, brilliant creative minds, and never-before-told stories, Magic to Do is an intimate look at a moment in history, a time and a place in which popular culture was as defined by conflict--between the young and the old, idealism and cynicism, creation and destruction--as anything else. Gardner draws out this friction through her examination of the creative struggles between Pippin's director/choreographer, the iconic Bob Fosse, for whom the show would mark a massive career resurgence, and its young composer/lyricist, Stephen Schwartz (of Wicked fame), who was making his Broadway debut. Magic to Do, named for the opening song of the musical, clearly marks the lasting cultural significance of Pippin, which derives in large part from the timelessness of the search for self, one that presents itself anew to each succeeding generation, accounting for the show's enduring popularity around the world. Infused with R&B sounds and a universal message, it is fair to say that, without Pippin, there is no Spring Awakening, Dear Evan Hansen, or even Hamilton.
About the Author
Elysa Gardner has written about theater and music for The New York Times, The Los Angeles Times, The New Yorker, The Village Voice, Town & Country, Rolling Stone, Entertainment Weekly, Time Out New York and USA Today, among other publications, and has been a contributor to VH1 and NPR. She is a theater critic for The New York Sun and New York Stage Review and hosts the podcast "Stage Door Sessions" for Broadway Direct. Book contributions include the introduction to U2: The Rolling Stone Files and a chapter on Taylor Swift for Woman Walk the Line: How the Women in Country Music Changed Our Lives. Elysa is a board member of the Drama Desk and has served on the drama jury for the Pulitzer Prize twice, most recently as chair. She lives in New York City with her husband, daughter, and dog.
- Theater - Broadway & Musicals
- Theater - History & Criticism
- Genres & Styles - Musicals
In Magic to Do, which celebrates the 50th anniversary of Pippin's opening, two-time Pulitzer Prize jury member Elysa Gardner turns her attention to this innovative show, the musical retelling of the story of Prince Pippin, son of Charlemagne, and his quest for an "extraordinary life." Magic to Do dives deep into the legendary clashes, backstage drama, and incredible artistic synergy that produced one of Broadway's most influential musicals, a show that paved the way for the pop-informed musicals that we know and love today. Full of big personalities, brilliant creative minds, and never-before-told stories, Magic to Do is an intimate look at a moment in history, a time and a place in which popular culture was as defined by conflict--between the young and the old, idealism and cynicism, creation and destruction--as anything else. Gardner draws out this friction through her examination of the creative struggles between Pippin's director/choreographer, the iconic Bob Fosse, for whom the show would mark a massive career resurgence, and its young composer/lyricist, Stephen Schwartz (of Wicked fame), who was making his Broadway debut. Magic to Do, named for the opening song of the musical, clearly marks the lasting cultural significance of Pippin, which derives in large part from the timelessness of the search for self, one that presents itself anew to each succeeding generation, accounting for the show's enduring popularity around the world. Infused with R&B sounds and a universal message, it is fair to say that, without Pippin, there is no Spring Awakening, Dear Evan Hansen, or even Hamilton.
Pippin goes through different experiences, trying out different lifestyles and roles, all in search of ultimate fulfillment and satisfaction. The musical is known for its dynamic score, featuring catchy and memorable songs like "Magic to Do", "Corner of the Sky", and "No Time at All". The captivating choreography, intricate staging, and dazzling costumes add to the spectacle of the show. Pippin Magic to Do has been widely acclaimed for its storytelling, creative production, and thought-provoking themes. It has won multiple Tony Awards, including Best Revival of a Musical in its 2013 revival. The show continues to be performed worldwide by professional and amateur theater groups. In conclusion, Pippin Magic to Do is an iconic musical that tells the story of Pippin's quest for meaning and fulfillment. With its engaging storyline, memorable songs, and captivating production, it continues to captivate audiences and leave them pondering the universal questions of life..
Reviews for "Pippin's Magic: A Journey of Wonder and Amazement"
1. Sarah - 2 stars - I have to admit, I was quite disappointed with "Pippin Magic to Do". The storyline was weak and confusing, and I found myself struggling to connect with the characters. The songs, while catchy, did not seem to serve a purpose in moving the plot forward. Overall, it just felt like a disjointed mess of theatrics without any real substance. I was expecting much more from a show that has received so much praise.
2. Michael - 1 star - I couldn't understand the hype around "Pippin Magic to Do". The performances were lackluster, with the actors seeming disengaged and unenthusiastic. The choreography was also underwhelming and didn't add anything special to the production. I expected to be captivated by the magic of the show, but instead, I found myself bored and counting down the minutes until it was over. It's a shame because I had high hopes for this production, but it fell far short of my expectations.
3. Emily - 2 stars - "Pippin Magic to Do" left me feeling bewildered and unsatisfied. The storyline lacked depth and failed to explore the emotional journey of the characters. Additionally, the set design and costumes felt uninspired and failed to create a visually engaging atmosphere. I had hoped for a magical and enchanting experience, but instead, I was left questioning the purpose and meaning behind the entire production. Overall, it was a disappointing experience.
4. John - 1 star - I found "Pippin Magic to Do" to be pretentious and overrated. The attempts at being avant-garde and edgy fell flat and seemed forced. The performers seemed more interested in being theatrical and flashy than delivering a compelling story. The whole production felt disjointed and self-indulgent. I would not recommend this show to anyone seeking a meaningful and enjoyable theater experience.