Blank Canvas Theatre’s “Pippin” blends the best elements of the 1972 and 2013 versions of the show into a production that is at once minimalistic and fantastical.
In “Pippin,” a group of performers, led by a character known only as the Lead Player, guides an audience through the story of the titular character’s life. Pippin is a young prince who doesn’t quite know what to do with his life, but he does know that he wants it to have meaning, excitement and magic. In his journey to have an extraordinary life, Pippin tastes – and is tempted by – glory, sex and power, all of which have a cost.
Patrick Ciamacco, artistic director and founder of Blank Canvas, is responsible for the direction, as well as the set, projection, sound and light design. By taking ownership of so many different creative elements, it can be assumed that Ciamacco had a concrete vision for his production of “Pippin.” He ran with that vision, and we can be glad he did.
Ciamacco’s “Pippin” opens on a bare stage with a singular ghost light, which is in stark contrast to the massive circus tent featured in the 2013 Broadway revival. Within the first song, the cast hangs white drapes around the space. Projectors are then used to cast simple settings and patterns on the drapery. A round circus platform is the only set piece, and the stage is often awash with primary colors: moody blues, bloody reds and harsh yellows.
Like the revival, the show features some gender-blind casting, two acts and an extended ending. Blank Canvas also pays homage to the circus theme with its use of drapery, heavily lined eyelids, bold colors and body glitter. Yet, it also employs plenty of empty space and values minimalism over extravagance. What results is a production that gives the major theme of “Pippin” – finding a balance between the ordinary and the extraordinary – generous room to breathe.
Playing the titular character is Benson Anderson, who plays a very depressed, very downtrodden Pippin. Anderson’s vocals are enticing, and he knows how to crank up the intensity in just the right moments. He brings an everyman appeal to the character, which bodes well for the themes explored in the play. You could almost believe that Anderson’s shoulders are perpetually slumped and his brow permanently stuck in a furrow. It’s highly effective for depicting a lost young man searching for meaning, and it results in even Pippin’s most enthusiastic moments feeling shadowed by sadness.
Bringing levity to the show are the actors portraying members of Pippin’s family. Brian Altman is wonderfully charismatic as Pippin’s father, Charlemagne. A bubbly Chrissy Margevicius portrays the conniving step-mother Fastrada, and a muscular Andrew Maust plays her son, the simple-minded, image-obsessed Lewis. Neda Spears is Pippin’s grandmother Berthe, who wins the crowd over with her grandiose, fourth-wall-breaking number, “No Time at All.”
Stephanie Harden has the job of depicting the seemingly plain character of Catherine, and she does a fine job. Harden is likeable and sweet, with a voice to match. Catherine’s son, Theo, is played by the young Luke Jones, who is equally sweet and enjoyable.
As the Leading Player, Lindsay Pier guides the audience through Pippin’s story. Pier is effortlessly captivating and always commanding attention. She is flush with power, ready at any moment to tap into a well of anger resting just below the surface. It is disarming, and it is fantastic. Her performance will resonate with you (or haunt you) long after the curtain falls.
Pier’s performance as the Leading Player ripples throughout the rest of the ensemble, who depict supporting players. As they seductively dance to Katie Gibson’s choreography or pine over and paw at Pippin, the ensemble appears woefully desperate. It takes the creepy factor up a notch and effectively adds an exclamation point to the power behind Pier’s character. Supporting the strong, vocally adept cast is a talented band led by music director Matthew Dolan.
The Lead Player wears a jumpsuit constructed out of a wild, colorful flame pattern by designer Jenniver Sparano. This pattern is a commonality shared between the projections and the show’s branding. The costumes for the ensemble all contain a bit of that flame fabric, be it incorporated as a sash, hem, tie or hair wrap. The foundation for the costumes is a bizarre mix of khaki shorts, polos, spandex tops with a bra layered on top, skirts and a wrap dress. While incorporation of the flame pattern adds a fantastical, cohesive flair, the costuming teeters precariously between intentionally offbeat and hodgepodge.
“Pippin” explores the consequences of exchanging the mundane in favor of chasing the extraordinary. Blank Canvas Theatre doesn’t try to wow you with acrobatics, contortionists or a massive big-top tent: it packs power with its minimalism, it trusts its performers to transport and it allows the story to speak for itself.
“Pippin” runs through August 9 at Blank Canvas Theatre, 1305 West 78th Street, Suite 211, Cleveland. Visit blankcanvastheatre.com or call 440-941-0458 for tickets, $25.
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This article appears in Cleveland SCENE 7/16/25.