PIPPIN LIBRETTO PDF

Is the Fosse version available at all - eg as a later-published book, or used for the filmed version? But I have no information about Pippin regarding any differences OR if more than one is available. If we're not having fun, then why are we doing it? Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.

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Is the Fosse version available at all - eg as a later-published book, or used for the filmed version? But I have no information about Pippin regarding any differences OR if more than one is available. If we're not having fun, then why are we doing it? Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.

I have no idea if this differs from the original production. The script was commercially published in mass-market paperback and also in a hardbound book club edition shortly after opening in the early 70s.

Copies of this script, the original production, are available at used book sites like www. And that would be unacceptable. The new script, though some of the jokes are lame, contains most if not all of Fosse's added lines and scenes which were cut from the "original" licensed script. The published edition from the Seventies, now more commonly found in most libraries, bears almost no resemblance, except for a few laugh lines and scenic descriptions, to the Fosse version.

But for people to understand why the Fosse version works and the show's creators have a sore spot, one needs to go back to the beginning. Pippin started off as a college project by Stephen Schwartz called Pippin, Pippin. Similar plot, but ended with the assassination of Charlemagne - an attempt at a Lion in Winter -type musical with court intrigue and crackling dialogue. Being a college kid, it naturally showed a lot of promise but no real merit as a show.

When Stuart Ostrow, the Broadway producer, finally bought the option, he wanted a new book, and Roger O. Hirson came in at that point. The book became entirely different, now telling the story of a young man named Pippin going on a quest for fulfillment and self-awareness, and the traveling troupe of Commedia dell'Arte players who play out his life for him, so that he can experiment in relative safety, opening with the troupe of players arriving in a field with their wagon of props.

The score had to be re-written to match the tone of the show, resulting largely in the score we now know, with some exceptions.

It also gained a new title - The Adventures of Pippin. When Ostrow brought in Bob Fosse to direct and choreograph, Fosse accepted the job mainly because he didn't like the show - it was cutesy and very sentimental. Having developed a reputation for dark, unsettling, decadent, outrageous, and often disturbing theater, he wanted to re-make the show now titled Pippin into something more like his kind of work.

The show became dark and cynical with a very pessimistic edge. The whole world surrounding Pippin exists solely to kill him. Fosse's concept for Pippin 's ending was that it was literally a snuff show, not just a "dramatic way to end a life. Among other things, Fosse created specifically for Ben Vereen, I might add the character of the Leading Player, and with the help of many friends and show doctors, one of whom was the great Paddy Chayefsky greatly re-wrote Hirson's script, asking for no official credit.

Neither Schwartz nor Hirson liked the rewrites or the style of the show as it was finally set, but it won five Tonys, two of them for Fosse, so you can guess who won that creative battle. Ultimately, Schwartz and Hirson finally got their noses so out of joint that they took it to arbitration at the Dramatists Guild and managed to jettison many of Fosse's changes in the licensed script when the show became available for stock and amateur producers.

In the 21st century, Schwartz realized that Fosse's vision was the winning ticket, and a new version of Pippin with an alternate ending was created. It's a weird hybrid of Fosse's material and the original vision, working quite well at some points and not as well at others. The score was also completely reorchestrated, in an attempt to resolve the notorious "subject matter dissonance" that resulted from Schwartz's original music being attached to the increasingly dark and seedy script.

Personally, most people in the theater community myself included prefer Fosse's version in large part. Its critical success speaks for itself. I find the other versions somewhat lacking, and the revision in particular to be confusing. The reorchestrated Pippin score, as heard at the Papermill, is not currently being licensed, nor do any of the score collectors in the sheet music community currently possess a copy of it.

While I hope it's put in the right hands, this show is definitely ripe for a revival. If the audience could do better, they'd be up here on stage and I'd be out there watching them. Most people exaggerate the rewrites Fosse did for the show, and most of what he did wasn't actually rewrites of dialogue, but rather where the show was set, and the addition of the Leading Player which was simply a combination of several players into one.

The "Fosse version" can be seen in action in the uncut proshot of the Toronto production with William Katt and Ben Vereen. Sit down with the original 70s Pippin script and see for yourself how many differences there are He was stealing the scenes, literally.

I saw that in a recent production and thought it was just a stupid thing that the director added. I much prefer the original ending. Page: 1. I hear that the published version of the script of 'Pippin' was substantially changed from the one used in the original Fosse production. When you say "published", do you mean the text available for rental when performing the show? I may be confused, but the "original" script had almost NONE of the Fosse elements, as it only contained a pre-Broadway draft script, due to contract and ghostwriting rules.

Unfortunately, you get the Seventies score with the s script, so the two don't always match each other in tone. Yes, the "Theo Ending" has been a licensed option for several years. It's also the ending of the revival version, with a striking visual attached to it.

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Pippin: old libretto vs new libretto

Pippin is a musical with music and lyrics by Stephen Schwartz and a book by Roger O. Bob Fosse , who directed the original Broadway production, also contributed to the libretto. The musical uses the premise of a mysterious performance troupe , led by a Leading Player, to tell the story of Pippin , a young prince on his search for meaning and significance. The protagonist, Pippin, and his father, Charlemagne , are characters derived from two real-life individuals of the early Middle Ages , though the plot is fictional and presents no historical accuracy regarding either.

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