The SU drama department performs “Pippin” with a modern twist

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The notes and lyrics of “Magic to Do” filled the Arthur Storch Theater at Syracuse Stage while the cast of “Pippin” performed the opening number. The actors broke the fourth wall and invited the audience to delve deep into the history of the infamous Frankish prince.

“The cast was very tight, but beyond that they worked well together,” said Ella Femino, assistant director of “Pippin.” “Every night when they’re up there performing a show, or even during the rehearsal process, they really give it their all.”

The Tony-winning musical is currently running October 11-20 at Syracuse Stage and is the first mainstage production of the Syracuse University Department of Drama’s 2024-25 season. Set against the backdrop of the Frankish Empire, the musical tells the story of King Charlemagne’s first son and his search for meaning.

Pippin seeks reason in all parts of his life by joining his father’s forces, undertaking romantic ventures, and gaining political power. Connor English, who plays Pippin, said the title character goes through a series of trials and tribulations – constantly driven by her passion and curiosity to find meaning in life.

“This character comes at the beginning of the series wide-eyed and looking for someone to give him all the answers,” English said. “There is still something beautiful in returning to that childlike state and allowing yourself to simply take in the beauties of the world.”

English said he had some difficulties when he started playing Pippin. The character deals with trauma very differently than English – he tends to split up and move on, while English does the opposite. This taught him “how trauma lives in the body” and served as motivation throughout his life.

“Pippin” has a distinct aesthetic reminiscent of the Middle Ages, English said. This aesthetic has prevailed in all his interpretations. SU’s drama department challenged this distinction by adding more modern elements to the show to adapt it to the contemporary environment.

Femino said the department has integrated technology through the use of phones and social media to show how distractions can keep people from important things in life such as family, friends and life goals. At the end of the first act, when Pippin joins the protests against his father’s tyranny, the cast hold phones to record the protest.

Christian Calabrese | Staff photographer

The SU Department of Drama’s production of “Pippin” is a musical comedy narrated by two narrators and voiced by Kendall Stewart and Gwendalyn Rose Díaz.

English said “Pippin” director Torya Beard wanted to build a collaborative community before putting the show together. The cast spent the first few days of rehearsal engaging in activities together, which English said was different from other productions he has been involved with.

“Developing this community really gave us a chance to feel and understand that basically everyone in this room is a creative, everyone in this room is an artist, and everyone in this room has a valid opinion,” English said.

Each day, the cast and crew conducted “check-ins and check-outs” at the beginning and end of rehearsals to support each other. They asked each person if they wanted to bring anything to the rehearsal room and how they were feeling. Femino said the performers’ physical and mental safety is crucial for them to perform at their best.

The cast dedicated themselves to the production even outside of their rehearsal schedule, said Amelia Brown, a marketing intern with Syracuse Stage and SU’s drama department. While creating content and organizing cast takeovers for the department’s Instagram page, she witnessed firsthand the cast’s commitment to the production in their everyday lives.

“(The acquisitions) really show the level of dedication and commitment from everyone and make it all the more fulfilling to see the end result,” Brown said.

The cast and crew meticulously put together the show to give the characters an “inner life,” English said. They focused on designing their movements and dialogues to create momentum and dynamism in their respective characters.

Aside from that and trying to incorporate new ideas into the script, the production process proved to be no easy task for the cast, English said. Working intensively around the table, they constantly exchanged ideas on how to best formulate their characters in the show.

“This cast and crew is the most diverse combination of comedic professionals I have ever met,” said English. “Everyone was always trying to get things done.”