Xavier University presents Stephen Schwartz’s Pippin, reimagined with a modern twist at the Gallagher Student Center Theatre. Directed by Carolyn Guido Clifford, this production departs from Fosse’s circus setup, often used as a theme for this show. Instead, we are pulled into the seductive energy of a contemporary club scene. It’s a bold reinterpretation—one that feels urgent, immersive, and deeply reflective of the world today. Pippin runs two weekends only, through February 23.
The Story
Pippin is the story of a young man in search of meaning. Leo Jenkins, in the leading role, brings earnestness and vulnerability to his portrayal of a restless soul who believes his destiny is for something extra-ordinary. Enter the Leading Player (the magnetic Mary McMurray), who lures Pippin into a dazzling, seductive world where illusions and glamour masquerade as ‘answers’, and spectacle disguises the ultimate deception.
Themes
For those unfamiliar with the show, Pippin may at first feel disorienting at first—it’s surreal and a puzzle that doesn’t immediately snap into place. But as the story unfolds, deeper themes emerge with clarity. The confusing bits melt away and the show boldly confronts our own existential questions like what is our purpose in life? Who are we trusting to guide us? What is happiness and how does one find it?
Much like Pippin, we all crave certainty—a reassurance that we’re on the right path. We turn to friends, mentors, religion, even political figures, hoping they will provide direction. In Pippin, the troupe embodies these influences, exuding an almost cult-like, Manson Family allure—seductive, persuasive, and dangerous. But the show suggests that the voices we follow aren’t external guides at all, but reflections of our own insecurities and desires. They can shape us, but they can also consume us—engulfing us entirely if we lose sight of ourselves within them.
This narrative, evident in the show’s haunting finale, transforms Pippin into something deeper, beyond the iconic playfulness and “Doodle-ee-doo” “Dee-dle-ee-dee” lyrics.
The Staging of Pippin
The production’s unique staging only amplifies its impact. The immersive, in-the-round (ish) setup initially feels unsettling—there’s no safe distance between the audience and the performers. But rather than a gimmick, this intimacy becomes important. Seeing the flicker of realization in a fellow audience member’s eyes, and the shared breath of anticipation or laughter in such a small space fostered a rare kind of theatrical connection and experience.
The show thrives under Clifford’s direction. The choreography, a nod to Bob Fosse’s signature style, is quirky and very non-technical, overflowing with free flowing energy that unites the diverse ensemble. The cast, though small, delivers big. Jenkins and McMurray lead with impressive range, but the entire ensemble leaves an imprint—Owen Clark (Charlemagne), Loften Cooper (Lewis), Kate Crisp (Fastrada), Josi Pietrzyk (Berthe), and Tierra London Rush (Catherine) all shine in their respective roles.
Spoiler Alert: Pippin‘s true magic can be found in the show’s final moments. As the spectacle is stripped away—no costumes, no lights, no microphones—what remains is the naked truth. Pippin, now exposed, must face a life removed from the troupe. And in doing so, he finds something far greater than what he imagined–something real.
Conclusion: A Journey Worth Taking
Xavier’s Pippin is more than just a musical—it’s an exploration of human longing. It is, in every sense, a journey worth taking.
Tickets to Pippin
Opening weekend sold out–so get your tickets now for the remaining three shows. Click HERE for tickets.
For those planning to attend, a word of advice: arrive early. The nontraditional seating is part of the immersive experience, but latecomers may find themselves sitting on benches, that for two hours, can be hard on the back. And while the show is filled with “Simple Joys,” its themes are heavy, so consider it best for audiences 13 and up.
SHOW WARNINGS: Pippin contains adult themes, sexual content, course language, drug use, representations of violence and death, and discussion of suicide. It may not be appropriate for young children. Viewer discretion is advised.
Up Next at Xavier
Up next at Xavier, is Trey Tatum’s Summer Slaycation, directed by Bridget Leak. March 28-April 6–another show that will certainly sell out.
