It's a pip: Fresh take on Broadway hit Pippin finds wit, depth in unusual musical

It's a rare show that makes an existential search for meaning and dark subject matter like war, murder and suicide into an entertaining musical.

Pippin is such a rare beast, and its oddness is embraced in this production by indie theatre company Winnipeg Studio Theatre and the Village Conservatory for Music Theatre, a newcomer to the local musical theatre scene.

Featuring music and lyrics by Stephen Schwartz (more famous for hit musicals like Godspell and Wicked), Pippin has made its mark on Broadway twice — when it premiered in 1972, and again with a circus-themed 2013 revival, which featured some reworking of the script.

For his production, described as a reimagining by Winnipeg Studio Theatre, director Simon Miron has taken elements of both the 1972 and 2013 versions. He pares back some of the more ambitious staging of the latter for an indie-friendly approach — but this production retains the wit and depth that make Pippin a compelling, if strange, musical.

We're introduced to the title character by a vaguely sinister band of performers, headed by the Leading Player (a deliciously, comically arch and malevolent Joseph Sevillo).

In the style of a parable, they frame the story of Pippin, the son of a great emperor named Charlemagne (though these two shouldn't be confused with the historical characters they're very, very loosely based on — there's not a lot of legitimate history to this musical).

Though Charlemagne (played in a marvelously funny, scene-chewing performance by local fave Sharon Bajer) is a powerful, if sometimes despotic ruler, Pippin (Wes Rambo) is adrift in the world, unsure of his purpose. He's certain, though — as he sings in the show's best-known song, Corner of the Sky — that "I won't rest/Till I know I have it all."

That leads Pippin on a search for meaning in his life that takes him through war, revolution, hedonism and simple domesticity. All the while, he's prodded by the Leading Player and his troupe toward an ending we're promised will be "the most perfect act ever" — and will involve a can of gasoline.

Big themes, light touch

It's a musical tackling a lot of big themes, but it does so with a light touch. There's a sharp wit in Schwartz's lyrics, and Miron's production capitalizes on the offbeat humour in Roger O. Hirson's book.

It's also made easier to digest by music from Schwartz that sometimes shows its vintage — there is a certain groovy, early-'70s pop vibe to much of it — but is catchy, while complex.

It's performed by a strong cast of 15 which, as usual for Winnipeg Studio Theatre, features a lot of impressive young talent, expertly backed by keyboardist Paul De Gurse and drummer Brendan Thomson (who make themselves sound like a full band).

In addition to strong voices, the cast also gets to show off solid dance skills through Jillian Willems's playful and energetic choreography.

The only flaw in Pippin is, actually, Pippin — the main character here is not always especially likable, and is often far from the most interesting on stage. While he displays an impressive vocal range, Rambo's portrayal of Pippin as an earnest everyman doesn't fully convey the sense of desperation and despair that should be at the heart of his journey until late in the show.

It remains an engaging story, though, and one that shows a surprising, and still timely, depth in its exploration of despondence, disillusionment and the search for meaning — and the lengths we'll go to for greatness.

Pippin is an odd musical hit, but this production successfully walks a fine balance. It's funny, though not light entertainment; thoughtful without being ponderous.

And unlike its main character, it always seems sure of its own purpose.

Winnipeg Studio Theatre/Village Conservatory for Musical Theatre's production of Pippin runs at the Gas Station Art Centre until March 16.