[jojokay]

I am a big Pippin fan, and try to see every major production in the New York tri-state area whenever it comes around. Last night, I saw the Goodspeed Opera House production and really enjoyed it -- even more than some other recent shows (Bay Street, All-Star concert at Manhattan Theater, etc...)

But I have a BIG problem with the way some recent productions have changed the ending. What happened to the "How do you feel -- trapped, but happy -- which isn't bad for the end of a musical comedy -- ta da" ending? Okay, okay -- it's a little hokey... but the newer ending (with Theo being drawn into the whole "cult") defeats the WHOLE MESSAGE OF THE SHOW!!!!

Any thoughts on this? I loved EVERY minute of last night's show until the last 5 minutes!!

[ALoneWanderer]

Are you kidding me? Defeats the message? It drives it home. The idea is that Pippin think he is unique at the start, and that he must be destined for extraordinary things. Throughout the show he basically must come to grips with the fact that maybe he isn't. The idea is that this struggle of thinking you are unique is NOT in itself unique, it is something almost everyone must go through. The ending really drives home that every generation has it's Pippins, and they all are looking for some way to make an impact.

How do you think it defeats any message? I think it's the perfect continuation of it, as it truly shows us that Pippin's attempt to be unique isn't unique.

I saw the same production and also loved it (I've already posted about it so I won't give a full review). I'm excited that this version will be going on tour, I like a lot (but not all) of the changes they made. I also really liked the Pippin.

Another question...what did you think about the way they seemed to try to make Theo a bigger part? Especially with his being included in Love Song...and the way they made him an older sort of brat with the headphones?

[jojokay]

I guess I'm more upset that they are altering the original ending, which I think is perfect... and your second question (about Theo becoming a bigger role) is in direct relation to my first question -- I think the new ending is just to get Theo more stage time, which I don't think is necessary.

I understand what you're saying about the continuation of the message, but again-- WHY change the original ending, which leaves it more up to the viewer to come to those kind of conclusions instead of spelling it out for us like we're morons? I think this ending is too obvious, whereas the other ending is open to interpretation and thought.

I thought Pippin was outstanding -- one of the best I've ever seen... and I HATED Theo (his age, his look (like Damien in The Omen!), his brattiness, his "bite me"- like comments, his extra part in Love Song) -- so maybe that's also why I didn't like this ending.

Another question for you (and anyone else who cares to reply) -- I am 4 months pregnant, and, if I have a boy, I would like my child's middle name to be Pippin. My husband is DEAD SET AGAINST THIS -- but I feel even more positive about it after seeing last night's show again. Anyone know any real Pippins?

[ALoneWanderer]

I actually think Pippin would be a good middle name. I'm the type who hates people getting crazy with childrens names, especially with naming people after things, but I really think that would work. Tell your husband he can pitch in his advice on the first name .

Theo was actually my least favorite part of the production, for exactly the reasons you listed. I really disliked what they did to his part, I'm not sure if I blame the actor or the director or the changes to the script. I just didn't like it.

As far as the ending. I actually really dislike the original ending, it's so unsatisfying. I've seen this alternate ending (it's not new to this production) many times, in fact I think it was written with the original but the original was used. The concept of repeating generations and the fact that the drive for uniqueness is in and of itself not unique (something that I think is just a really cool point to bring up, the concept of ones drive to be unique making one less unique) hasn't been brought up in the show. It might be derived from the message by the intelligent audience, but I feel that it should be brought up in the show so as to make that part of the message of the show and not just something an audience member might take away from it. The show does essentially say that perhaps Pippin isn't as extraordinary as he thought he was, but it never really points out that even his drive to be extraordinary wasn't unique.

If I didn't know about the ending before seeing the show I think it might have annoyed me as it would have seemed yet another attempt to make theo a bigger part, but as I knew about it I just enjoyed seeing what I felt was simply the better ending. It's much more satisfying than the original I feel, but I do see how it would bother you in this specific production because of all the other attempts to make theo a bigger part.

[Monsieur D'Arque]

In this production, did Charlemagne play Berthe as well? I've seen a few productions that did that.

[ALoneWanderer]

Nope (that or they reaaaaally fooled me, but I don't think so). Charlemagne is played by Micky of the Monkeys though.

[MzGalinda]

Sorry for being stupid, but I'm not quite understanding exactly what they did for the ending...I picked up a few snippets here and there, but nothing really giving me an idea...help?

[jojokay]

Basically, the show ends with Pippin, Catherine, and Theo walking off the stage "naked" (no fancy clothes, no lights, etc...) but Theo has a sudden epiphany and decides to walk back to the center stage.. enticed by the "magic" and "extraordinary things that await" and picks up a forgotten white glove (symbolic of the magic) and looks to the side of the stage where the leading player and magicians etc. are and it's implied that he "joins them" for another circle-of-life where HE becomes the Pippin-like character who thinks he's meant for bigger and better extraordinary things.

[ALoneWanderer]

The gloves are thrown into a square of light by all the players when they are "taking away the magic" as it were. It's not so much forgotten as thrown there.

[Tom]

Here is info about the new ending and intermission for Pippin:

ALTERNATE ENDINGS

Here is all the information you should need to include the new ending and an intermission in your production. No special permission is necessary to incorporate these into your production:

This new ending requires Theo to be old enough to be beginning to make his own choices. I recommend that Theo be played by a boy of about fifteen and that he participate as a member of the "troupe" in the rest of the show. The Leading Player's description of him, therefore, as a "small lovable boy" becomes ironic. But he can still play his affection for his duck and growing affection for Pippin as written.

The show proceeds as written to the point where Pippin, Catherine, and Theo are standing alone in the work light, having been stripped of their costumes and all the scenery and fancy lighting. The troupe has exited and the orchestra has stopped playing. As in the current version, Pippin sings, a cappella: "I wanted magicshows and miracles/mirages to touch/Iwanted such a little thing from life/I wanted so much ..." But there is no further dialogue. Instead he sings: "I never came close, my love/we nearly came near/it never was there/I think it was here." He kisses Catherine, and hand in hand they start to walk off the stage, not noticing that Theo has remained behind center stage. Very softly at first, and then with growing confidence, Theo begins to sing a cappela: "Rivers belong where they can ramble/eagles belong where they can fly ..." Pippin and Catherine turn and look at Theo with surprise, as Theo continues: "I've got to be/ where my spirit can run free ..." And from the corners of the stage, the Leading Player and the troupe begin to creep on, all focussing at Theo. It is clear they sense their next victim. Theo finishes: "Gotta find my corner of the sky" as the light begins to grow brighter on him. The Leading Player holds out his hand to Theo as the troupe sings the "Oooh ooh ooh ooh's" that start the show, the orchestra comes back in, and the lights grow brighter and brighter and then suddenly black out. And that's it. I hope this description is clear. I think you can see how chilling it can be and how well it rounds off the show by bringing it full circle. It requires a little bit of work from your musical director to work out the way the orchestra comes in and how to end the show musically, but it's pretty self-explanatory and only a few bars long.




PIPPIN -- End of Act One

(After CHARLES comes back to life and
gives PIPPIN back the knife ...)

CHARLES
Oh, that's all right, son. But don't let it happen again.

PIPPIN
(To LEADING PLAYER)
Well, dammit! Nothing turns out the way I thought it would. I'm getting old
.. very old. And I still haven't done anything with my life.

LEADING PLAYER
Well then, maybe it's time.

PIPPIN
Time?

LEADING PLAYER
For the Finale. I promised you an extraordinary life and an extraordinary
climax, remember? A climax never before seen on a public stage.

(He snaps his fingers and the music for "Think About Your Life" begins.
The CAST start to sing "Aahs" to the music as the PLAYER WITH TORCH appears.)

PIPPIN
What's going on? What is this?

ALL
THINK ABOUT YOUR LIFE, PIPPIN ...

PIPPIN
Yes, that's what I need to do. I need to think ... I need to be alone for a
while.

(He starts off.)

LEADING PLAYER
(Grabs him)
No .. Where are you going, Pippin? The Finale ...

PIPPIN
(Pulling away)
I have to have time to think!
(He runs off.)

(The cast looks after him, bewildered. The LEADING
PLAYER is momentarily nonplussed.)

PLAYER WITH TORCH
(To LEADING PLAYER)
Now?

LEADING PLAYER
(Snaps at him.)
Of course not now, you idiot!
(Recovers himself, turns to the audience, smiles)
It's all right, we're just going to need a little more time that's all.
(To CATHERINE)
You -- Catherine. You'd better get ready. We're going to be needing you.
(He turns back to audience, more relaxed now.
A big smile.)
Don't worry. We won't disappoint you. We never disappoint. You'll have the
climax we promised you.

ALL BUT LEADING PLAYER
WE'VE GOT MAGIC TO DO
JUST FOR YOU
WE'VE GOT MIRACLE PLAYS TO PLAY ...

LEADING PLAYER
(To audience)
Trust me!

ALL
AS WE GO ALONG OUR WAY!

END ACT ONE



PIPPIN -- Opening of ACT II

(PIPPIN is discovered alone on stage, pacing
and singing agitatedly to himself)

PIPPIN
(a capella, very determined)
RIVERS BELONG WHERE THEY CAN RAMBLE
EAGLES BELONG WHERE THEY CAN FLY
I'VE GOT TO BE ...
SPIRIT CAN RUN FREE ...
GOTTA FIND MY CORNER ...
GOTTA FIND ...
GOTTA FIND MY CORNER ...

(The LEADING PLAYER runs on. When he sees
PIPPIN he stops, watches for a moment. Then,
elaborately calm, he calls to PIPPIN.)

LEADING PLAYER
There you are. Anything you need? Whatever you like ...

PIPPIN
I'd like a little peace and quiet, if you don't mind.

LEADING PLAYER
Look, Pippin. You may not believe this, but things are going according to
plan.

PIPPIN
They are?

LEADING PLAYER
Of course they are. Take it easy ...
(sings:)
YOU LOOK FRENZIED, YOU LOOK FRAZZLED ...

(Etc.)



PIPPIN -- End of Act II

LEADING PLAYER
You try singing without music, sweetheart!

(The LEADING PLAYER goes. The stage is dark except for the work light.
PIPPIN, CATHERINE and Theo are alone on stage. PIPPIN sings a cappela)

PIPPIN
I WANTED MAGICSHOWS AND MIRACLES
MIRAGES TO TOUCH
I WANTED SUCH A LITTLE THING FROM LIFE
I WANTED SO MUCH
I NEVER CAME CLOSE, MY LOVE
I NEVER CAME NEAR
IT NEVER WAS THERE
IT ALWAYS WAS HERE ...

(He kisses her and, hand in hand, they
begin to leave the stage. Theo remains
behind, standing center stage. Very softly
at first, he begins to sing, a capella)

Theo
RIVERS BELONG WHERE THEY CAN RAMBLE
EAGLES BELONG WHERE THEY CAN FLY ...

(PIPPIN AND CATHERINE turn to look at Theo,
who begins to sing more strongly now)

Theo
I'VE GOT TO BE
WHERE MY SPIRIT CAN RUN FREE ...

(And suddenly, on the fringes of the stage,
the PLAYERS begin to creep in again, all
focussing on Theo, smiling at him, reaching
out to him. A light starts to get brighter on
Theo as the orchestra begins to accompany him)

Theo
GOTTA FIND MY CORNER
OF THE SKY ...

(The LEADING PLAYER comes a bit more onstage
and reaches out his hand to Theo. Theo turns
to look at the LEADING PLAYER as PIPPIN and
CATHERINE look on helplessly. The PLAYERS begin
the opening seductive chords of "Magic to Do")

PLAYERS
OOH OOH OOH OOH
OHH OOH OOH OOH ...

(The light on Theo gets brighter and brighter
as the orchestra swells ...)

BLACKOUT

[Kaiana]

I've only seen the alternate ending, but I think I prefer it or at least the idea of it to the original. It's awesomely creepy and I agree with Lone. I think it completes the story very well. I don't think it's too heavy handed, I suppose the original ending leaves more up to the audience, but with the alternate there's still plenty to think about.

[kinpa]

[Tom]