Oh, oh, oh It’s Magic!
This is a book for Broadway musical nerds of a certain age. I am both.
Pippin has never been a favorite musical of mine, but after reading the book, I’m planning both to watch the 1982 production filmed for Showtime, and listen to the original cast album for the first time in decades, so Gardner has definitely done something right.
At times I was bogged down by the level of detail about each performer/creative involved in the first, but subsequent productions of this ground-breaking musical, but then, there isn’t a test on what information I retain, so no harm done.
Thank you to NetGalley for a free digital copy in exchange for this review.

"No costumes? No makeup? No colored lights? And... and no magic?"

With a threat and an apology to the audience, the Leading Player of Pippin (eternally Ben Vereen in my mind) addresses the crowd looking for someone to perform The Finale. That Leading Player has always been Fosse's devilish take on Stephen Schwartz's musical through his original direction and choreography. Elysa Gardner's "Magic To Do" documents the life of this piece, which as much as I sometimes wish was not seared line for line in my brain, exists in its entirety. From its original life as "Pippin Pippin" to the inclusion of Fosse's writers braintrust to punch up the book, "Magic To Do" invites you to come and waste an hour or two as well as the show itself does.

Come for the discussion of the war over "but happy", stay for the anecdote involving David Copperfield (pre name change!) literally teaching Ben Vereen some new tricks.

Stephen Schwartz has won many awards for his musical theater creations including "Pippin", "Godspell", "Wicked" and many more.

In 1964/5 Stephen Schwartz was a freshman and I was a sophomore in the Drama Department at Carnegie Mellon University, where he spent time in the practice rooms playing music while I was next door sewing in the costume shop for the next main stage production.

My 'so-called' career skirted the edges of many of the memories in Elysa Gardner's fascinating insight into musical theater and the complexity of getting to what is hoped will be a successful Broadway run. There were so many recognizable names and places. I stayed at a famous old hotel in New York City that was mentioned. My drama teacher was quoted. I saw the production of "Godspell" at the Ford Theater. And on and on.

Learning about the problems of a young Stephen Schwartz, who wanted to stress the singing, battling the legendary Bob Fosse's emphasis on dance, led to a discussion of how Broadway shows have changed over the years. Today we have triple threats: performers who can sing, dance, and act. "Pippin" and "Godspell" pointed the way to a less traditional musical theater eventually leading to the rock musicals offered today.

A lot of information one might never seek, turns out to be surprisingly interesting. The author has included the people who work behind the scenes and how they create the magic eventually seen onstage.

On YouTube you can check out some of the performances. My favorite is the original "Pippin" opening number with Ben Vereen, the black background, and the white gloved hands hanging in space.

I have always felt a close connection to "Pippin" since a community production used my duck (a puppet) as THE duck. He has a place of honor in my office.

One of my top ten books of 2022.

"Pippin" includes an index, brief reading list, and photographs.

Thank you, #NetGalley/#Rowman & Littlefield, Applause for an honest review! It was a pleasure to read and review!

As a Bob Fosse fan, this book was informative and made me wish for a time machine. I’ve seen Pippin on stage only once, the Diane Paulus revival, so I wasn’t overly familiar with it. The author, herself a fan, does a great job of explaining its history and creative process. There is information about the team that brought it to life, their fights, struggles and successes, and talks about not only Fosse and Stephen Schwartz, but the producers and cast. Since time travel is not an option, at least it’s lucky that we have the internet. Watching the original numbers available on Youtube worked wonders to understand everything that Gardner explored. She also delves a little into other famous shows that the team created, including Godspell, Cabaret and, my favorite musical ever, Chicago. The author explores the cultural and political background that made the show possible, the state of Broadway at the time, and really drives home how innovative Pippin was. To other readers, I recommend watching the original “Magic to do” number just after reading the hard work, ingenuity and fairy dust that made it possible. Five jazz hands to this book!
I chose to read this book and all opinions in this review are my own and completely unbiased. Thank you, #NetGalley/#Rowman & Littlefield, Applause!