Domino One’s production of “Pippin” takes the stage with an ensemble that delivers standout performances, yet finds itself navigating a lukewarm reception due to a somewhat underwhelming conceptual approach.
Eadric Einbinder steps into the role of Pippin with grace and charisma, embodying the character’s journey with a compelling mix of vulnerability and determination. Einbinder’s performance anchors the production, creating a relatable and engaging protagonist.
Alexandra Ackerman, portraying Fastrada, brings a captivating blend of cunning and charm to the stage. Her portrayal adds depth to the character, making Fastrada a memorable presence in the unfolding narrative. Ackerman’s performance contributes significantly to the production’s dynamic.
Bryan Snodgrass commands the stage as Charlemagne, infusing the character with a regal yet conflicted essence. Snodgrass’s portrayal effectively captures the complexities of Charlemagne, contributing to the familial tensions that drive the storyline.
The true standout is Blake Rhiner as the Leading Player, whose performance is a true highlight of the production. Rhiner’s charisma and versatility bring a magnetic energy to the stage, seamlessly guiding the audience through Pippin’s journey.
Lisa Dyson’s portrayal of Berthe adds a delightful touch of humor and wisdom to the show. Dyson’s stage presence and engaging performance contribute to the overall enjoyment of the production.
Choreographer Jonathan Blake Flemings deserves commendation for the vibrant and imaginative dance sequences that elevate the energy of the production. Flemings’ choreography not only complements the narrative but also adds a visually dynamic element to key moments.
However, the lukewarm reception stems from the conceptual approach taken by director Taylor Wessleman. While the individual performances and choreography shine, the overall concept feels somewhat disconnected, lacking a cohesive thread to fully immerse the audience in the world of “Pippin.” Wessleman’s vision, while not without merit, might benefit from a more unified direction to enhance the production’s impact.
In conclusion, Domino One’s “Pippin” is a showcase of exceptional talent with standout performances from Einbinder, Ackerman, Snodgrass, Rhiner, and Dyson. Jonathan Blake Flemings’ choreography adds an exciting visual layer to the production. Despite this, the lukewarm reception to the conceptual approach suggests room for potential growth in future productions. For those seeking stellar performances, Domino One’s “Pippin” remains a worthwhile theatrical experience.
