On Campus, Arts

Pippin’s Quest for Fulfillment Comes to Life on Robsham’s Stage

Boston College’s latest theater production of Pippin didn’t just tell a story—it made the audience a part of it. The show, directed by Luke Jorgensen, turned Robsham Theater into a living, breathing spectacle that combined humor, heart, and a touch of absurdity to remind the crowd that theater can still surprise and delight. 

From the first number to the final bow, BC’s take on the classic musical offered a fresh spin on Pippin’s journey to find meaning. The production showcased BC’s students and their talent while emphasizing the play’s themes of self-discovery and the struggle for happiness.

When the cast kicked off the show by pulling an unsuspecting student from the front row to play the titular character, it was clear that this production would be interactive and full of surprises. Pippin, played by Gabriel Biagi, MCAS ’25, began his journey with a passionate speech about his post-university plans. 

Biagi brought an infectious energy to the role, making Pippin feel deeply relatable to the crowd. His comedic timing was impeccable, and his more serious moments of self-doubt revealed emotional depth. 

Jack Krukiel, LSEHD ’25, delivered a charismatic portrayal of Charlemagne, Pippin’s egotistical, war-hungry father. Krukiel’s quick, witty display of the character’s arrogance made it clear why Pippin found himself unfulfilled. 

Alessandro Cella, MCAS ’26, stood out as Lewis, Pippin’s effervescent half-brother, whose contortionist-like movements and non-stop moving feet delivered some of the night’s biggest laughs. During the tense war scene, Corey Schiz, MCAS ’27, gets his head chopped off but sparks chuckles when he returns to give Pippin advice as a floating head.

“I first saw Pippin in 1972 when it came out,” Jorgenson said. “The film was very … ominous. Dark. I wanted to make it a little lighter. That’s where the fun, neon-lit carnival set comes in.” 

One of the most intense moments in the production was Pippin’s moral struggle over whether or not to kill Charlemagne in his quest for change. Biagi captured Pippin’s emotional turmoil, torn between his desire to reshape the kingdom and the weight of committing an unthinkable act. 

Krukiel exuded a mix of unseriousness and vulnerability in this scene, making the audience question if Pippin’s decision was justified. The final blow was delivered not triumphantly, but with a haunting sense of regret, leaving the audience stunned.

Pippin’s moment of power quickly fades when he realizes he can’t fulfill the impossible expectations of his subjects. He prays for his father’s return and the leading players and Charlemagne magically come back to life. Faced with failure, Pippin collapsed in despair, only to be revived by Catherine, a widowed woman played by Margaret Whyte, MCAS ’25. Whyte brought a tender warmth to the stage, her soft voice contrasting with the larger-than-life antics of the ensemble.

As Act II neared its conclusion, Pippin faced a choice: give into pressure to light himself on fire, or find fulfillment in the simple life. Biagi’s emotional performance during this pivotal scene left the theater silent, his hesitation evident as he grappled with what it meant to truly live. After Pippin makes his decision, Pippin and Catherine are left alone on the barren stage.

“Trapped … but happy,” Pippin said, his final words marking an end to his chaotic journey and a message of contentment with the ordinary.

The applause was thunderous, and it was clear that the BC theatre department had succeeded in both entertaining and provoking thought.

BC’s Pippin was more than just a student play—it was a testament to the power of storytelling, reminding its audience that sometimes magic isn’t in the extraordinary, but in learning to love the life that you live.

November 22, 2024

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