Review: Pippin (Upstairs at the Gatehouse)

Review by Daz Gale

⭐️⭐️⭐️

When the title character in Stephen Schwartz’s Pippin sang about wanting to find his corner of the sky, perhaps he was actually referring to Upstairs at the Gatehouse, situated in a corner of the Highgate village, and the highest theatre above sea level in London. Maybe it’s just sheer coincidence, but that is the musical the small but mighty pub theatre has opted to present for their annual Christmas musical. With previous years seeing them take on You’re A Good Man, Charlie Brown and Road Show, would this year’s offering give them more magic to do, or would this Pippin fail to be poppin?

Premiering in 1972 and last seen in London in the outstanding 50th anniversary concert at Theatre Royal Drury Lane last year, Pippin tells the story of the titular young Prince on his pursuit of purpose. Encouraged by a troupe of travelling performers, his journey plays out as he chases glory in battle, love and family, as well as the question of ascending to the throne. However, as he soon discovers, the brighter the bulbs, the darker the shadows, and with the promise of a spectacular finale, what exactly is Pippin’s role in that destined to be?

With a book by Roger O. Hirson, Pippin can be a slightly unconventional show, with its breaking of the fourth wall and the whole play-within-a-play mentality of it. That allows it to be interpreted in many different ways, as each production I have seen shows. This is the fifth iteration of Pippin I have seen in person, with each attempting something slightly distinct, dependent on their space and how the story has been realised, all to varying degrees of success. However, this production at Upstairs at the Gatehouse matches this in its own distinct interpretation, not every element connected with me as I had hoped.

Amanda Noar’s direction shows regular moments of promise and does the best it can, occasionally rising to the extraordinary level repeatedly mentioned in Pippin’s own journey. Unfortunately, this is marred with some more questionable choices that feel more ordinary, though it also falls short in its attempts to bring the story and overall message of Pippin. This production is let down by subpar choreography that feels confused and disjointed in its tone, opting for an overuse of acrobatics mixed in with clunky movement that fails to match the quality of the musical numbers. There are moments where it does thrive, however, such as the clever way Pippin is introduced and how he gradually transitions into the role. The quality is there to see - it just requires a bit of searching to unlock its full potential.

There are some clever touches in the set design from Hannah Danson, making great use of the space at Upstairs at the Gatehouse, and pushing the “performance” aspect of the players with their makeshift props. There is a smattering of magic involved, too, with a couple of impressive effects, though I could have perhaps done without the circus act opening of Act Two. That said, Act Two on the whole was far stronger and cohesive than the first, feeling more refined than some of the chaotic choices that plagued Act One.

Though the world may be obsessed with Wicked at the moment, Pippin remains another one of Stephen Schwartz’s crowning achievements in my opinion, with this musical being the home to some of his very best songs. Here, they are beautifully presented through expert musical direction from Harry Style, leading to gorgeous renditions of ‘Corner Of The Sky’ and ‘Morning Glow’. Unfortunately, some of the direction choices mean ‘No Time At All’, usually a massive standout in the show, falls oddly flat when it is presented here, suffering from a disappointing low energy.

Where this production proves uneven in parts, one aspect that pushes it to the next level is its impressive cast. Lewis Edgar delivers a commanding lead turn as Pippin, showcasing a balance of sweetness and cockiness in his characterisation as well as beautiful vocals on some of the musical’s strongest songs, notably ‘Corner Of The Sky’ and ‘Extraordinary’. Oliver Wood gives a brilliantly exaggerated performance as Charles, with Helena Caldas a highlight as Fastrada, delivering one of the standout moments with her ‘Spread A Little Sunshine’.

Mia Quimpo brings a sense of humanity and authenticity to her portrayal of Catherine, in one of the best takes of the character I’ve seen. By the time she breaks protocol to sing ‘I Guess I’ll Miss The Man’, she has more than cemented herself as one of the standouts of the production - even more impressive given this is her professional debut, ensuring she is certainly one to watch in the future. 

The biggest standout of the cast belongs to Emily Friberg for her exceptional performance as Leading Player. Perfectly capturing the mystery and more sinister nature of the questionable character, Friberg’s stage presence dominates at every appearance. Whether she is watching from the sidelines, poking her head out or expressing frustration at events not going to plan, Friberg takes a tricky and demanding role and more than makes it her own in a performance that really is the most extraordinary thing in the show.

It is important to judge any production based on the kind of theatre it is playing at and the space it is in. With that in mind, Upstairs at the Gatehouse regularly pushes the boundaries with big and ambitious projects, and Pippin is no exception. Time and time again, they have proven not to overlook the smaller theatres, and finding one above a pub in Highgate may lead to some incredible magic. Though Pippin falls short of their usual high quality, it is not without its merits, and still manages to be enjoyable and impressive at times. Though this Pippin may not be perfect by a long shot, its imperfections feel oddly appropriate to the story - as Pippin searches to find out who he is and how to be extraordinary, so too is this production. Should this version continue to be developed in the future, I have no doubt it will find a way to lift it. In the meantime, however, they still have some magic to do.

Pippin plays at Upstairs at the Gatehouse until 11th January 2026. Tickets from https://www.upstairsatthegatehouse.com/pippin-show/

Photos by Inigo Woodham-Smith