Dispatches from the Musical
Brady Santoro (11-3)
The musical is back and, much like the last two years, it feels like a muddle. The longtime director, Devon Sinclair, abruptly quit at the last minute and with COVID looming over the production, the cast and crew have been crossing their fingers that nothing will go awry, while the building is rebuilt and cold weather settles in. The premise of the musical, an apparent “existential play” full of “sexy circus tricks” according to reviews of its Broadway revival, is the story of a young prince, Pippin, based on the son of Charlemagne, who finds his place in the world with the help of a troupe of actors.
However, fitting into the mold of the muddle, it is apparent that most Masterman students have no idea what the play is about. One interviewed student claimed it was about “celebrating music,” another reported it was the origin story of Pippi Longstocking, and another claimed it was about blond children. Besides the basic question of its plot, additional questions come up. For example, there are many sexual references in the book of the musical, bizarre stage directions, and complex settings cut from the Masterman production. Some students have expressed concern about middle school students performing in the show and the crowded choreography, as the existential themes, complicated choreography, and inappropriate elements may not be suitable for a fifth grade audience. According to Ms. Neu, the director and production team have eliminated significantly unseemly elements and made cuts in the score and production accordingly. Several worries linger for some, as part of Pippin’s self discovery comes from segments of promiscuity that significantly make up the plot, and cutting them may make the musical incongruous and choppy.
Another question posed by some is the director’s experience; Allie Beik, has never directed a musical. However, as a Masterman graduate and wedding planner by day, Beik has directed an array of choirs and has experience managing large groups. An alumnus of five Masterman musicals, they are familiar with the possibilities and limitations of the auditorium.
The most prominent question, however, concerns the choice of the musical, considering that it has been met with some malaise by staff and students. Some have asked, who in their right mind picked Pippin and why? This final question has a rather sensible answer: it has streaming rights. Chosen by the production team, Pippin was one of the few musicals that could be adapted to the auditorium with an orchestra and with digital viability, in the event of a complete return to virtual learning.
Despite all concerns, the musical is coming along well. The show orchestra rehearses twice a week before school for nearly an hour, actors have regular rehearsals, and stage crew has begun building the set, which currently consists of several ominous boxes. Mr. Gilken, caught directing a throng of students bearing wooden boards, is pleased with how the musical is going. In contrast to previous productions, Mr. Gilken has worked seamlessly with the director and appreciates their concise and helpful suggestions, which made this year’s set easier to design and build. Stage crew members are generally excited and are looking forward to production, while orchestra members are more mixed. Some appreciate the complex and varied music while others are frustrated with quick chord changes, difficult page turns, and the somewhat unorthodox score. All in all, despite the questions and doubts, it is clear that the musical is back and that whatever Pippin is, it will be a welcome return from two years away from the Masterman stage.