Pippin 70s Movie Dreamcast

Hi, folks. Fans of musical typically have an assortment of musicals they classify as underappreciated. One of my examples is 1972's Pippin: His Life and Times. Even prior to its triumphant Broadway revival, I was a fan. Its open to artistic interpretations. Roger O'Hirson's libretto has efficacious breaks-4th walls, characters with memorability and a cogently executed premise. It's complimented by Stephen Schwartz's melodical, diversified score.

Personally, I think Pippin had the potential to be 70s, musical movie. It accumulated a sizeable run. Patricia Zipprodt, Tony Walton and Jules Fisher (3 members of Pippin's creative team) worked on films. Warner Bros. could've distributed. The show's surrelality might've been appreciated by 70s audiences. Also, I'd be appeased if Bob Fosse (the show's infamous director/choreographer) worked on a 2nd 70s film that was gratifying to me. Fosse helmed 1979's All That Jazz, their warped semi-autobiographical film, and it's a favourite. Alas, Bob had a film that, despite its top-tier aspects, I maintain disdain for. Mainly because it watered-down its source-material's libretto and 86ed songs.

Anyhow, enough petty griping. Bob Fosse was absolutely capable of bringing Pippin to the silver screen. Fosse and the vaunted Gwen Verdon, a "collaborator", would've reenacted the dances--Quite breezily. With crispness, the filmmakers might've continuously alternated from a theatre reality to a Medieval fantasy realm. There'd just have to be cuts so the story could flow in a film. Let's proceed to casting. I'll state that a plethora of ace performers should've been recruited for the ensemble players. I would've hired an adept, auditioned unknown for the role of Theo and a professionally trained duck.

I'd retain a trio of performers from the Broadway production. For Catherine, the act II love-interest, we're keeping Jill Clayburgh (the role's originator). Jill had grace, poignance and strength as a performer. Clayburgh was also breaking into theatrical films in the 70s. Another role-originator we're retaining is Christopher Chadman, the portrayer of Lewis (Pippin's stepbrother). Apart from being dexterous, Chadman had an understanding of character. They were wonderfully childish and irritating. Lastly, we're keeping William Katt, a worthy successor, as Pippin. Katt conveyed the role's characteristics. It'd be stellar to spectate a Broadway replacement in a feature, too.

For Charlemagne, the father, we're selecting character actor Christopher Hewett, someone with presence. Christopher was capable of mixing kingly and boorish qualities. Hewett participated in musicals, too. My entry for Fastrada, a housewife and mother, is Helen Gallagher. Aside from having on-camera experience, Helen previously worked with Bob and Gwen. With their triple threat range, Gallagher could've portrayed a schemer who's guised by a sweetened veneer.

Let's cast my favourite character, Berthe the grandmother. This role caters to sublime character actresses. Therefore, it was territory for Mary McMarty. McCarty would've provided kindliness, comedic chops, captivation, feistiness and sagacity. Mary could tackle musical roles, as evidenced by her performance as Mama in Fosse's original Broadway production of Chicago. Lastly, we cast our Leading Player. The enthralling Carl Anderson was a befitting, dynamic powerhouse performer. They would've prospered in the role! Carl could certainly carry a film. Aside from exuding urbane charm, Anderson might've had a forbidding edge.

It might've been promising if those individuals partook in a 1970s Pippin motion-picture. Hopefully a contemporary Pippin film will eventually transpire. Chicago translated to film gorgeously. Given the revival's prosperity, a movie would be idealistic. Fingers are crossed. Let's hope a cinematic incarnation garners fruition. In the meantime, be spectator if you encounter a production of Pippin. Incidentally, this is dedicated to a theatrically versed, divine, vivacious, chic friend.