The Passion Project Players of Curtain Call Performing Arts Company (CCPAC) have assembled at Hamilton’s Gasworks to take us on a theatrical fever dream journeying through the life and times of Pippin. Pippin is a young, naive man who discovers what living is really about through a series of trials, failed opportunities and, eventually, a choice that defies the puppet masters at play. It’s a surreal technical wonderland with incredible performances proving that CCPAC’s production of Pippin is an extraordinary achievement for this company.

Stephen Schwartz and Roger O. Hirson’s 1972 musical features plenty of surrealism, existential crisis, and comedy. It is known for its folksy songs, circus-like magic and of course, the iconic choreography by the legendary Bob Fosse. Pippin isn’t perfect though: the plot infamously barely holds together, and struggles with its tone between the two acts all while the audience watches the Players tempt Pippin into increasingly questionable life decisions. Yet somehow, when Pippin works, it really works.

What makes CCPAC’s Pippin work? For starters, the technical prowess of Zachary Viola whose mastery over set, lighting and sound design should, at this point, be studied by all community theatres. The Gasworks’ stage is completely reconfigured and what a stunning playground has been created. The lush drapery washed with ethereal floating colours makes the space feel otherworldly, mysterious and enticing. The intricacies of this lighting design feel like this technical director’s homage to Bob Fosse with how precise each cue is and, perhaps unexpectedly, how the set and lighting almost become their own characters. Truly impressive work. The same can be said for the beautiful costume designs by Danielle and Irene Viola which are full of royal purples, blacks, sequins and carefully selected pops of colour to make individual characters stand out. Great artistry all around.

The casting also plays a huge part in what makes any production of Pippin work. Director Danielle Viola has chosen her cast of triple threats well. All the Players are inviting but untrustworthy; comical but vaguely threatening. This is especially true with the casting of Emma Bergin as the Leading Player, the mysterious emcee guiding both Pippin and the audience through this strange theatrical journey. Bergin’s performance is deliciously manipulative from start to finish. Vocally, she tears through Schwartz’s score with confidence and powerful range, especially during “Glory” and “On the Right Track.” Bergin’s movements always feel intentional, whether she’s stalking across the stage with predatory elegance or punctuating a lyric to keep the audience, and Pippin, under her spell.

*Emma Bergin as The Leading Player*
*Photography by Kasey Bridges Photography*

Pippin is performed by Claire Cappellani, a long time resident of the company. Cappellani builds character by focusing on Pippin’s uncertainty, restlessness, and naïve optimism. Their early rendition of “Corner of the Sky” feels appropriately tentative but determined. Cappellani excels in most of this role, particularly with their authentic portrayal and enthusiasm for the material. There are, however, a few moments when the performances are uneven. Some songs would have benefitted from an alternative arrangement to suit and showcase their range more effectively. That being said, Cappellani grows stronger as Pippin’s journey becomes darker, giving the character a believable emotional evolution rather than simply playing Pippin as an aimless dreamer. Bravo.

*Claire Cappellani as Pippin*
*Photography by Kasey Bridges Photography*

Other standout performances come from Graeden Bourne as scene-stealing King Charlemagne and his rendition of “War is a Science” could give Gilbert and Sullivan’s “Modern Major General” a run for its money. It is expertly performed with the gravatas necessary for such a patronizing buffoon of a tyrant. Another standout is Ria Davda as the lovable, life affirming Berthe who eagerly leads the audience in several choruses of “No Time at All” and reminds the audience of one of the show’s underlying themes: to live life now rather than waiting for it to happen. Davda showcases great talent in vocals, acting and dance, delivering a confident and memorable performance.

Finally, among the very talented ensemble cast, Leelu Thomson as Catherine blew me away with her layered performance as Pippin’s brief but impactful love interest who purposefully stands out from the other Players. Her heartfelt performance gives the show the emotional sincerity that the first act lacks. Her vocals on “Kind of Woman” and “I Guess I’ll Miss the Man” are beautiful, but more importantly, she makes Catherine feel like an actual person rather than a symbolic life lesson. Thomson effectively grounds the more realistic aspects of the second act with comedy, resistance and eventually, defiance. Bravo.

The third part of what makes CCPAC’s production of Pippin work is the choreography by Moira Vaughan-Lee. The choreography embraces Fosse’s iconic influence while allowing the movement to feel more modern. The classic angular poses, rolling hips, and stylized hand gestures are all there, but her energetic choreography avoids becoming a museum piece. Instead, it feels revitalized, particularly during the ensemble-heavy sequences. My only slight disappointments were a noticeable lack of sensuality and frenzy in the latter half of “With You” and the decision to not give the iconic “Manson Trio” number its deserved focus. The other Players shouting and grunting during battle took me out of the performance and from being able to fully appreciate the intricacies that it is known for.

It is fascinating how Pippin’s themes remain relevant over 50 years later. Pippin spends the entire show searching for fulfillment through achievement, pleasure, status, politics, and performance, only to discover that none of them provide lasting meaning on their own. In a modern world increasingly built around curated identities and endless, exhausting performance, that existential anxiety still impacts audiences. It’s important, as director Danielle Viola describes, that we focus not on becoming extraordinary but knowing that our lives were that way already.

Pippin is a technically astonishing and engaging production full of exceptional performers; easily one of Curtain Call Performing Arts Company’s best to date. It’s not perfect, but it is extraordinary. Join the Players and see the magic and talent unfold before you. Don’t miss it.

PIPPIN TICKETS