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Leave your field to flower and your cheese to sour, UMKC’s performance of Pippin invites you into a world of illusion, wonder and reflection, where every spotlight hides a question and every smile conceals a truth.
Pippin is a musical that dances between fantasy and philosophy. With music and lyrics by Stephen Schwartz and a book by Roger O. Hirson, the show follows a young prince’s quest to find his “corner of the sky,” that elusive place where life finally feels meaningful. Originally directed and choreographed by the legendary Bob Fosse in 1972, Pippin has always blurred the line between theater and reality, mixing Broadway razzle-dazzle with existential searching. Known for its meta-theatrical style, the story unfolds as a troupe of performers led by the mysterious Leading Player tells (and manipulates) Pippin’s tale, pulling the audience into the illusion of performance itself.
Directed by Linda Ade Brand, UMKC’s production doesn’t just retell Pippin; it reimagines it. One of the greatest strengths of Pippin lies in its creative flexibility: every production can live in a different world, time, or tone. Brand’s vision was nothing short of phenomenal. She rooted the show firmly in a medieval kingdom, transforming the Leading Player into a mischievous court jester, a choice that felt both thematically rich and visually striking. It made the entire story feel like a fairy tale turned inside out, reminding us that magic and manipulation often wear the same mask.
The technical artistry was equally stunning. The onstage pit was a highlight (Bekah Walker, Brynna Ladesic, Grace Vedit, Jaccob Gehr, Fritz Hutchison, David Oosse, Tod Baranard, Aiden Levendovsky, Brant Challacombe, Emma Anderson, and Dillon Pott). Live music is always a thrill, but seeing the musicians physically present elevated the experience. You could feel their energy radiating from the stage, watching them pour their souls into strings and drums as if they were characters in the story themselves.
The lighting design also stood out. During moments of sorrow, the stage dimmed into soft, melancholy hues, while bursts of color mirrored the joy and spectacle of Pippin’s most vibrant scenes. The emotional storytelling through light alone was powerful. Costumes, designed by T. Mentjes, dazzled, especially Fastrada’s and Berthe’s gowns, which shimmered under the lights like jewels from another realm. While a few costumes might have benefited from slightly tighter tailoring, the overall visual world remained cohesive and enchanting.
From the moment Mary-Kate Griffin (Leading Player) sang her first line, I was hooked. She doesn’t just command the stage; she owns it. Griffin’s voice is stunning, and she handles one of the most demanding roles in musical theater with ease and confidence. With sly charm and playful control, she drew the audience into her spell, making us complicit in the illusion. Even knowing the story and the Leading Player’s true intentions, I still found myself entranced. Griffin perfectly balanced charisma and menace, embodying both the joy of showmanship and the danger of obsession. One moment that stood out was when Pippin did exactly what she wanted: a subtle, wicked smirk crossed her face, and it was pure magic.
And if you want a masterclass in characterization, look no further than Payton Boldt (Fastrada) and Angel Te’l (Berthe). Boldt’s Fastrada demands attention whether she’s singing in her gorgeous tone or simply standing in the background; your eyes are drawn to her. Te’l, on the other hand, was pure comedic brilliance. I was sitting in the very front row when she looked me dead in the eyes, and from that moment on, she was my favorite. That kind of audience connection is rare and especially powerful in a show like Pippin.
Sam Ragone (Lewis) was another standout. From his exaggerated facial expressions to his physical comedy, he brought the perfect mix of arrogance and humor to the role. He didn’t have many vocal solos, but when he did, his smooth vocals shone beautifully.
Hannah Guzman (Catherine) delivered a pitch-perfect performance. Her comedic timing was impeccable, and every time she was on stage, laughter followed. She nailed the “show within a show” concept: you could clearly tell when she was acting as the performer and when she was being authentically Catherine. Her chemistry with Michael Navato (Pippin) was undeniable. It’s rare to see romantic chemistry feel that genuine on stage, and their connection made their scenes truly moving. Plus, Navato’s decision to actually play guitar during “Love Song” was a charming and heartfelt touch that deepened the realism of the moment.
And of course, a show like Pippin lives and dies by its ensemble, and this one did not disappoint. The cast, featuring Rain Parker, Kevin Hartung, Sierra Richardson, Kloe Wagner, Laci Olberding, Roland Jacob, AJ Finnk, Hannah Kubiak, Lilly Meyer, Lily Teten, Pierce Kuhn, Neave Sullivan, and Kayla Whitaker, was a powerhouse group of triple threats. They danced their hearts out, delivered strong harmonies, and acted with intention even in silence. One performer who caught my eye was Kayla Whitaker; her body language and facial expressions were so expressive that she managed to be hilarious without even speaking.
UMKC’s Pippin was more than a performance: it was a reflection on storytelling itself, on the magic, the manipulation, and the search for meaning beneath it all. From stunning visuals to deeply committed performances, this production reminded the audience why we keep coming back to the theater: to be dazzled, to be moved, and to maybe, just maybe, find a bit of our own corner of the sky.
Reviewed by TeenTix KC Press Corps member Alexandria Mondaine
TeenTix KC is a KC Studio initiative building a brighter future for our region by empowering young people to take an active role in shaping their arts community as audience members, critics, influencers, advocates, patrons and leaders. Any 13-19 year-old can become a TeenTix KC member by downloading a free pass which enables them to buy $5 tickets to participating arts venues across metro KC. Teens are encouraged to become critics and influencers by writing reviews and creating reels about the arts they experience using their TeenTix KC passes.
