REVIEW: PIPPIN by Stephen Schwartz at Upstairs at the Gatehouse, Highgate until 11 January 2026
‘The real strength here is the collective’ ★★★★ ½
Having seen Stephen Schwwartz’s Wicked when it opened in London (in 2006 - blimey) with Idina Menzel and having adored the two new films, I recently re-visited Stephen Schwartz’s juggernaut at the Victoria Theatre and found it strangely ‘stop / start’ and a bit of a drag. Thus, having never seen Schwartz’s Pippin but having heard lots about it and being very keen, it was with some nervousness that I arrived at the excellent Upstairs at The Gatehouse theatre for this new, ‘re-imagined’ (dread term) version……and, by Christmas, it was pretty damn great - and sexy!
A simple story - boy wants to find great purpose in life and struggles to find that purpose, finds love which gives him that purpose and ‘we all lived happily ever after’ - that is framed historically (albeit without fact) through war, devastation, power and societal challenges. Pippin is the son of the King of Charlemagne with complex relationships with his step mother, step brother and, ultimately, his father whom he rails against and, ultimately, kills. Roger O Hirson’s story layers this with a group of enigmatic and Cabaret-style ‘players’ who literally invite Pippin from the Gatehouse audience (he was sat next to me all the time!) and act as puppeteers leading him through a life that meanders across a society in flux. As Pippin ascends to the throne he finds that this extraordinary opportunity does not necessarily lead to an extraordinary life, and he learns to accept that personal fulfilment can be found via the heart.
If this all sounds a bit confusing and a bit odd, well, it is. But it is great fun via Schwartz’s set of jaunty (and, by turns, dark) tunes, a powerhouse vocal cast and on point direction and Bob Fosse-infused choreography from Amanda Noar whose Moominvalley in November musical at the same venue this year so charmed me also.
With the voice of a young Reeve Carney, Lewis Edgar’s Pippin is both muscular and heroic whilst showing the inner turmoil of a young man not at peace with himself - his ‘Corner Of The Sky’ is a highlight. As his grandmother Berthe, the excellent Clare Brice gets some audience sing-a-long in the charming ’No Time At All’ and, whilst on occasions he has a little too much of the Michael McIntyre’s about him, Oliver Wood as the King is all hustle and bustle on ‘War Is a Science’. As the Leading Player, Emily Friberg is playful, sultry and always ‘in the game’ - she also has a fantastic singing voice. Likewise, as Pippin’s love Catherine and on her professional debut, Mia Quimpo nails it in the second half.
But the real strength here is the collective - and it is to the credit of the producers Chromolume at Upstairs at the Gatehouse (they have had a very strong year). A hard working set inspired by tarot and the circus (with a sprinkling of properly good magic from consultant Martin T Hart) could be easily transposed to, say, Regents Park Open Air Theatre. Under musical director Harry Style, Schwartz’s tunes are given depth and identity. The best moments are when the Players come together and sing as one.
I believe that the ending of Pippin can be tweaked and it has here - I found it both sweet and moving. I’ll let you discover it for yourself by heading to Highgate but I’d also be hopeful of this show getting a longer, wider life in 2026. Congrats all.
Chromolume presents
PIPPIN
Music & Lyrics by Stephen Schwartz
Book by Roger O Hirson
Upstairs at the Gatehouse, Highgate
11 December 2025 - 11 January 2026
BOX OFFICE https://upstairsatthegatehouse.ticketsolve.com/ticketbooth/shows/1173668094/events/428739341
CAST
Lewis Edgar, Emily Friberg, Mia Quimpo, Helena Caldas, Oliver Wood, Clare Brice, Daniel North, George Kipa, Imogen Amos
CREATIVES
Directed by Amanda Noar
Associate Director: Isaac Bernier-Doyle
Musical Director: Harry Style
Set & Costume Designer: Hannah Danson
Producer: Annlouise Butt for Chromolume
Artwork by Sam Cannon
Photography by Inigo Woodham Smith
