REVIEW: Pippin

As Sydney’s theatres slowly emerge from their COVID induced slumber there was perhaps no better elixir to bring life back into the scene than the flashy, magical affair that is Stephen Schwartz’s Tony Award winning musical, Pippin.

Telling the story of a young man, the titular Pippin, at a cross roads in his life the musical injects acrobatics and flashy circus fair into the tried and true musical format. Will Pippin (Ainsley Melham) follow in the footsteps of his father Charlemagne (Simon Burke) or will he strike out on his own to find his own “corner of the sky”?

With is vaudeville, circus stylings Pippin is a very surreal play, perhaps fitting in 2020. However, it is also one which is incredibly entertaining. Particularly when Kerri-Anne Kennerley astounds audiences with her acrobatic first appearance and then later when Melham is set free to unleash his incredible voice.

Pippin is a flashy affair with just enough substance to carry it through. Thanks to it’s unique concept of a ‘play within a play’ audiences will have lots of fun here as they are mesmerised but he acrobat performances, soaring music and delightfully funny fourth wall breaking quips from the Leading Player (Gabrielle McClinton).

Certainly worth venturing out into the post-COVID theatre experience, with masks mandatory throughout the performance.

Until Jan 31. Sydney Lyric Theatre, 55 Pirrama Rd, Pyrmont. $69.90-$169.90+b.f. Tickets & Info: www.sydneylyric.com.au