Pippin, Stephen Schwartz’s 1972 hit musical, was one of those rare musicals that manages to be both wildly entertaining and surprisingly thoughtful. I am happy to say that the Revolution Stage Company’s production captures the show’s signature blend of spectacle, humor, and heart with infectious energy from start to finish.
At its core, the musical follows the journey of Pippin (Bruno Satatino) the son of King Charlemagne (Donald Kelley) as he searches for meaning in his life. Guided—sometimes manipulated—by the enigmatic Leading Player (Nathan Wilson), Pippin tries everything from war and politics to hedonism in his quest to find his “corner of the sky.” The story’s structure is framed as a theatrical troupe performing Pippin’s tale. As directed by Nathan Wilson, this framework gives the show a playful, self aware tone that keeps the audience constantly engaged.
This production leans beautifully into that theatricality. The choreography is crisp and inventive, echoing the original Bob Fosse style while still feeling fresh. As the Leading Player, Mr. Wilson commands the stage with a strong voice, plenty of charisma and sly charm. He makes every scene feel like a carefully orchestrated game. Mr. Satatino’s Pippin is wonderfully relatable—earnest, hopeful, and just flawed enough to make his journey feel real. His excellent vocals resonate with his yearning to understand what his life is all about and what his true purpose here on earth might be. He manages to avoid the traps set for him by his conniving stepmother, Fastrada (Billy L’Amour in a performance that delivers comedy gold) and his hunky but dumb half-brother Lewis (Chris Carranza). The quieter, more grounded moments, especially Pippin’s relationship with Catherine (an endearing Meagan Lawson) and her son Theo (Ari Rand), adds depth and warmth to balance out the glitz. Finally, Sonia Reavis as Berthe, Pippin’s feisty, advice-giving grandmother does a great job creating a warm and loveable matriarch and makes the most out of every moment of her big song, “No Time At All.”
Whether it is echoing Fosse’s style or going in a different direction, Wilson’s staging is superb. The clever use of the upstage video wall gives each scene a polished and finished look, creating a world that feels magical without cluttering the stage with unnecessary props and furniture.
And of course, the music is irresistible. Songs like “Magic to Do,” “Corner of the Sky,” and “Morning Glow” are delivered with vocal power and emotional clarity. The book by Roger O. Hirson weaves its magic on us while keeping Pippin’s quest totally relatable, reminding the audience why Pippin has endured and remains a favorite after more than 50 years.
In the end, this production captures the show’s central message with sincerity: sometimes the extraordinary is found in the beautifully ordinary. It’s a joyful experience that leaves you smiling long after the final bow.
PIPPIN runs through March 1, 2026. For tickets and further information, visit their website at www.revolutiontheatrecompany.org