PippinNotesforDirectorsandMusicians

ThefollowingquestionsandanswersarefromthearchiveoftheStephenSchwartz.comForum.
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archive.Sendquestionstooffice@stephenschwartz.com

Permissionto"Adapt"PippinforHighSchool?
Question:
IamteachinghighschooldramaandchorusnowinBocaRaton,Florida.Thisismyfirstyearatthis
school,andsecondyearteaching.IonlyreallyknowPippinandGodspell...AretheBaker'sWife,
Working,orChildrenofEdenaccessibletothehighschoollevel?Also,isitpermittedtoadaptPippinto
makeitmoreappropriatefortheagelevel?I'mconcernedaboutthelanguageandPippin's"exploits"...I
absolutelylovetheshow,andthinkitwouldbeperfectforthestudentsI'mworkingwith.Findingout
thatyouwere25whenthatwasonBroadwayhasmotivatedmeintobelievingthatICANdirectashow!

AnswerfromStephenSchwartz:
PIPPIN,WORKING,andCHILDRENOFEDENareveryfrequentlyperformedinhighschools(BAKER'SWIFE
isabitmoredifficult,becauseitneedsacoupleofreallyextraordinaryperformers,plusthesubject
matterislessimmediatelyaccessibletohighschoolstudents.)AlltheseshowsarehandledbyMTI:
www.mtishows.com.IknowmanyhighschoolsslightlybowdlerizethesexualcontentinPIPPINwithno
losstothebasiccontentandmessageoftheshow,justasmanyhighschoolswhichpresentWORKING
changesomeofthelanguagetoeliminatetheprofanityacoupleofthecharactersuse,againwithout
anymajorlossofcontent.CHILDRENOFEDENisusuallyperformedexactlyasis,theonlydifficulties
beingthatsomeofthemusicischallengingandthatitisarelativelybigshow.I'mdelightedinyour
interestinmywork,andIhopeoneormoreoftheseshowswillworkforyou.Ifyoudecidetodoone,
pleaseletmeknowhowitgoes.Sincerely,StephenSchwartz

Pippin:FemaleLeadingPlayer?
[Questionmissing]

AnswerfromStephenSchwartz:
Ihavenotactuallyseenoneofthemanyproductions(includingmajorprofessionalones)inwhichthe
LeadingPlayerwasplayedbyawoman,butIdon'tseeanyreasonwhyitshouldn'twork.Themotivation
oftheLeadingPlayerwhichtoansweryourquestionisabsolutelyvitalandcentraltotheshowisto
leadthecharacterofPippintohisdestruction,andthatseemsessentiallygenderlesstome.Ofcourse
theotherplayerssharehisgoal,butwithouttheLeadingPlayertopersonifyandfocusitintoone
characterandimportantly,onetheaudiencefindscharismaticandlikabletheshowwouldloseits
power.ItwouldbelikeOTHELLOwithoutIagosure,youcouldhaveOthellobecomejealousof
Desdemonabasedonhisowninnerinsecuritiesandfromhearingnamelesscourtiersgossip,butwould
youreallywanttoseethatversionoftheplay?Thanksforaskingandbestwisheswithyourproduction.
StephenSchwartz

HeadlessManinPippin???
Question:
Hi.I'mdirectingPippin.OpensOct.16'02.Iwouldlovetostealafewgoodideasonhowtostagethe
headlessmanscenes.Anyonewanttotossmeafew?Thanks.GeoffreyHowardMissouriValleyCollege

Answerfromadirector:
ThelasttimeIdirectedit,Ihadsomeonethrowoutaspecialheadwemadeupinthescenewherethe
bodypartsaretossedonstage.Whenthecleanupcrewcameout,theyplacedtheheadonaspikewe
hadontopofashortcastletowerthatwaspartoftheset.Anactorinthetowerthenputhishandin
theheadandmanipulateditlikeapuppettospeaktoPippin.Theaudiencelikedit."

Answerfromanotherdirectorabouttheirlowtechheadlessman:
Forthefirstheadlessmanscene,wehadanactorcrouchinginsideaboxwithjusthisheadstickingout
andanorangeyredmaterialdrapedaround(sortoflookedlikeblood).Then,outofthesideofthebox,
wehadanotheractorliedownsothathisheadwasnotvisibleandsothathelookedlikehehadbeen
decapitated.

Forthesecondscene,weriggedupa"headlessman"costumeinvolvingaverylargetrenchcoat(our
actorwasfairlyshort),withfake"shoulders"attachedabovetheactor'sactualheadunderneaththe
coat.Thecoatwasbuttonedandthearmsandhandswerestufffedtolookliketheywereholdingthe
head,whichstuckoutofwhatlookedlikethe"belly"ofthecostume.Westuckthesameredmaterialin
theneckofthecoat.Theactorthenwalkedonstagetosayhislinesandwalkedoff...likeIsaid,VERY
lowtech,butitgotachuckleandservedit'spurpose.

...Forthefinalefire,weriggedupafan,redstrobelight,andflameshapedpieceoforangegossamer
whichlookedAWESOME(whenitworked).

PIPPIN:IGuessI'llMisstheMan
[Question/commentaboutthecuttingofIGuessIllMisstheMan.

AnswerfromStephenSchwartz:
I'mhappytosayIpersonallyhaveneverseenaproductionwherethesong"IGuessI'llMisstheMan"is
cut.Whatabadidea.Anydirectorwhocutsthesongdoesnotunderstandtheshow.However,Isuspect
thereasontheydoitisbecauseintheMTIscript,thelinesinwhichtheLeadingPlayertellsCatherine:
"Youdon'thaveasonghere...youbetterstopsingingnow"(asshecontinuestosing)arecut.Ithink
thoselinesshouldberestored.Sincerely,StephenSchwartz

PIPPIN:"WithYou"TerminologyQuestion
Question:
Iwantedtoknowwhatthetempomarking'MeltedButter'meansinthesong'WithYou'fromPippin.Is
therearoundaboutmetronomemarkingforthatsection?I'vetriedsearchingtheentiresiteanddidn't
comeupwithanything.Ifigureitisadescriptionofakindoffeel,butIdidn'twanttojustassumethat.

AnswerfromStephenSchwartz:
Ihavenoideawhatversion(s)of"WithYou"havethetempomarking"MeltedButter",andit'scertainly
notadescriptionthatIsuggested.Icheckedmycopiesofthemusicandtheyallsimplysay"Gently"
whoevercameupwith"MeltedButter"wascertainlycreative,though.Anyway,mysuggestionwouldbe
approximatelyquarternote=68.Hopethathelpsandthanksforyourinterest,StephenSchwartz

Copyright
QuestionfromManfred
HiStephen.Iseethatalotofpeoplewritetoyoutoaskyouropinionaboutmakingchangestoyour
shows.InMTIlibrettositsays"Youarenotpermittedtomakeanychangestothemusic,lyricsor

dialogueofthePlay,includingtheinterpolationofnewmaterialand/ortheexclusionofexisting
material."

Iamveryconcernedaboutthis,andalsoverysurprisedthatsomanypeopleseemtobepublicizingthe
factthattheyhaveapparentlybrokentheirlicensingagreement.Iwouldvalueyouropiniononthe
matter,becausethelibrettoclearlysaysthecopyrightbelongstotheauthorsandthat"Anychanges
shallconstituteawilfulinfringementofsaidcopyright"...Iinterpretthistomeanthatifyoudon'tmind,
nobodyminds.

HerearethechangesI'mthinkingaboutforPippin:
1)Thelibrettoandscoredisagreeinseveralplaces,soyouchoosewhichtokeep.
2)Afullbandisn'tavailable,soyoumakeacompromiseonwhoplayswhat.
3)Someoftheincidentalmusicgetscut,becausewecan'tdoitjustice.
4)I'dlovetoextendashortsongbyinsertingaversefromtheoriginalprintedvocalselection(later
dropped).I'mthinkinghereof"IGuessI'llMissTheMan".
5)We'dliketokeeptheoriginalending,butheartheLeadingPlayersing"Joinus"toTheojustbefore
blackout.
6)Isaddinganoverturegoingtoofar?
Maybeyoucouldgiveafewwordsofadviceregardingwhereyouseethelinebeingdrawnbetween
acceptableartisticinterpretationandunacceptablecopyrightinfringement.Thanks.

AnswerfromStephenSchwartz:
Thanksforyourquestions.Ialwaysappreciatewhenanyonedoingoneofmyshowsaskspermissionto
makechangestothepublishedscript;asyoupointout,toofewdo.
Intermsofyourspecificquestions:
1) Thelibrettoandscoredisagreeinseveralplaces,soyouchoosewhichtokeep.Answer:Yes
2) Afullbandisn'tavailable,soyoumakeacompromiseonwhoplayswhat.Answer:Yes
3) Someoftheincidentalmusicgetscut,becausewecan'tdoitjustice.Answer:Yes
4) I'dlovetoextendashortsongbyinsertingaversefromtheoriginalprintedvocalselection
(laterdropped).I'mthinkinghereof"IGuessI'llMissTheMan".Answer:I'mactuallynotaware
thatanyoftheversesof"IGuessI'llMisstheMan"havebeencut.Theformofthesongshould
beverse,verse,bridge,lastverse.ItisOKwithme(infactIrecommendit)ifyouinterpolate,as
manydo,theLeadingPlayersayingthingstoCatherinelike:"Youdon'thaveasonghere"and"I
reallydon'tthinkyoushouldsinganymore"betweentheverses.
5) We'dliketokeeptheoriginalending,butheartheLeadingPlayersing"Joinus"toTheojust
beforeblackout.Answer:OK,butI'mnotsureacombinationofthetwoendingswillwork.Butif
youhaveawaytodoit,byallmeanstryit.
6) Isaddinganoverturegoingtoofar?Answer:OK

Thanksagain,andIhopeyourproductionisbothabigsuccessforyouandthatyouhaveagreat
timedoingtheshow.Sincerely,StephenSchwartz

ReplyfromManfred:
We'reverygratefulforyourwordsofencouragement,thankyou!Regarding"IGuessI'llMissTheMan",
whatwehadinmindwasthis.It'sabeautifulsong,wonderfullytouching,but("eventsmoveso
swiftly"...)Catherinecanbedoneandoffstageagainbeforetheaudiencerealiseswhat'shappened.By
makingitlingeralittle,theaudiencehastimetoappreciateshereallydoeshaveabrokenheart.

Thevocalselectionbookfrom1972hasthemiddleversegolikethis:

"Heneversmiledenough,Butthoughhiswordsweregruff,Ilikedhisshy,sadglance.Inevertoldhim
so,Butthen,Inevergotthechance."

We'veaddedthisasournewsecondverse,andtheformofthesongbecomesverse,addedverse,
bridge,verse,bridge,lastverse.Ofcourse,thejokeattheendofthebridgecan'tberepeated,so
insteadCatherinebreaksoffat"Thisman..."andrecomposesherselfbeforeanyoneseesthetearinher
eye.

Finally,there'sonemorequestionI'msurealotofyourfansoutthereneedtoknowtheanswerto
(evenifit'snottheanswerwewanttohear...)What'syourpositionregardingamateursvideoingtheir
productionsofyourshows?Thanksagain.

AnswerfromStephenSchwartz:
ThereareallsortsofversionsoflyricstoPIPPINsongsfloatingaroundoutthere,whichIguessshows
howmuchrewritingIwasdoing.Ihadforgottentheverseyoucited,butIdolikeit.Ifearwhenyoudo
thesongintheformyousuggest,itwilloutstayitswelcomefortheaudience,butifitworksforyour
production,sobeit.

Intermsofamateurvideotapingofproductions:Thistypeofrequestishandledbythelicensing
companywhereyousecuredperformancerightstotheshow.Thesetapesaretechnicallyillegal.That
havingbeensaidaslongasthevideotapesarenotforsaleunderanycircumstancesIhaveno
problemwithit,butofcourse,don'ttellmeaboutthem.Allbestwisheswithyourproduction,Stephen
Schwartz

Re:Clowns,mimesandmagicians
Question:
MyquestionaboutPippincostuming,inparticular,camefromthefactthatI'vebeenhavingtrouble
helpingmyaudienceandfellowmusicaltheatrepeopleunderstandthesymbolisminPippin.Iama
fairlywelllikeddirectorofmusicalsinacommunitywithadominantreligionthatproclaimsnoother
successcancompensateforfailureinthehomeandthatfamilyshouldbethehighestpriority.Since
Pippinisthestoryofapersonwhoultimatelyfindsthemostfulfillingpersonalchoicetobealifewitha
familyeventhoughsuchalifecannotbehadwithoutsacrificeofpersonalfreedomsanddesires,Iwould
thinkthatthesepeoplewouldseePippinasIdoanimportantstorythataffirmsmyfaithand
lifestyle.Buttheytendtobeconfusedandfrightenedbyit.Somuchso,thatIhavenotyetbeen
successfulinpersuadingthecommunitytheatreinwhichIamtheartisticdirectortosupportme
directingit.Certainlytheorgy,flyingbodypartsandsexjokeshavealottodowiththeirfear.However,
eventhosewhogetpastthattendtoaskme,whatwerethoseclownsfor? Irealizethesymbols
alwaysspokeclearlytomebecauseIhavetheculturalliteracytoknowwhatcommediadelartewasand
Irememberwhen,priortothereleaseofPoltergeist,theimageofapaintedface,thoughoftensinister
orscary,wasaniconoftheperformingartsasawholeandperhapslifeinatheatricalsenseinsteadofa
particulartypeofmonster.Forme,thesecharactersareparticularlypoignantasmostofthenonfamily
alternativesinmyownPippinesquejourneyhavebeenartistic.Iseemtorecallreadinginoneofthose
booksinwhichyouandFosseareportrayedasdisagreeingovereverythingthattheoriginalconceptfor
stagingPippinwastohavethesettingbeacountrysideorsomeplaceonwhichtherovingplayersthe
playandthatFossesetitinthetheatreitself.Howwouldyoufeelaboutastaginginwhichtheplayers
areportrayedasacommediatroupefromaparticulartimeperiodinsteadofacomtemporizedor

generalizedversionofsuch?Perhapstheyvisitahistoricalenvironmentcreatedonthestageorperhaps
theybehaveasatravelingbandwhovisitthetheatrethatisproducingtheplay?Andwhatiftheyfound
Pippinintheaudienceorsweepingthestage?Wouldthisdistractfromthevision?
Thankyou,KevinMcClellan

AnswerfromMichaelCole:
DearKevin:
Whatyouproposesoundsabsolutelyfinetome.Theperiodcostumesandtheideaofthistroupe
visitingthetheatrewouldseemtomeexactlytherightsettingforPIPPIN.WhenPapermilldidPIPPIN,
theyfoundtheactorwhowastoplayPIPPINinthefrontrowandhauledhimonstagesoIknowthis
worksandisacceptablebyStephen.IhaveforwardedyourquestiontoStephen,butheis(obviously)
busythesedayswiththeWICKEDshow.Hemaygettowritingaresponsetoyou,butIjustwantedto
postmythoughtshere.I'mfairlyconfidentthatwhatyouareproposingwillbeacceptablebyStephen.
Allthebest,
Michael

pippininterpolatedlyrics
DearMr.Schwartz,
IamcurrentlydirectingaproductionofPippinattheUniversityofAlabama,whereIamagradstudent
indirecting.Asamatteroffactweopentomorrownight(Nov.4).Thishasbeenawonderful
experienceforme.Ifellinlovewiththescriptlastspringwhenseveralofthestudentshere
recommendedIconsiderdoingitforthisfall'sseason.IwasfamiliarwithGodspellandChildrenofEden
beforethisbuthadneverheardorreadPippin.SoIreadthescript.Thethemesrangverytruetome
thefalseperceptionoffameasfulfillmentandthecripplingfearof"settling",particularly.Itseemedto
methatyouandMr.Hirsonhadpropheciedthe"slacker"generation.Afterreadingthescript,I
immediatelythoughtofKurtCobain'ssuicidenotewhichheendedwiththewords(heborrowedfrom
NeilYoung?):"Remember,it'sbettertoburnoutthanfadeaway."Combiningthisquotewiththe
generallyacceptedviewthatartists/entertainers(specificallytheentertainerofthemoment)arethe
oneswhoareinformingourpostmodernsocietyasawhole,Idecidedtoletourplayersinthisshowbe
agroupofpostmodern,trashy,flashy,poprocktypes.Thesearethevoicesinourheads.So,thestage
isfullofsensual,cynicalMTVplayersmanipulatingPippin.

Thisbringsmetomydilemma.Duringrehearsal,Ithoughtit'dbeinterestingtoseetheoccasional
"quote"ofpopsongsthatisprevalentinpostmodernart.So,keepingthesamechordstructureofthe
Pippinmusic,weaddedfourquotes.Theyareasfollows:AfterBerthesings"byamanwhocallsme
granny",thedrumscontinueandshesingsBritneySpears'oneline"Hitme,baby,onemoretime."Then
shecountsoffandwe'rebackfullswing(andatthesamerhythm)into"JustNoTimeatAll."Asthe
playersenterintotheorgyafter"WithYou",theyeachsingvariouslinesfromovertlysexualpopsongs.
(i.e.Ifyouwanttobemylover,yougottagetwithmyfriends,Let'sgetiton,etc.)InplaceofFastrada's
"doodoo's)attheendof"SpreadALittleSunshine,"shesingstheline"Voulezvoucoucheravexmoi,ce
soir"twice.

Finally,whenPippinis"sewing"hesingsunderhisbreath"Iwantmy,IwantmyMTV."

Well,Ithoughtthiswasfunandagoodwaytocommentonthepostmodernaesthetic(andhadasked
somepeopleaboutthelegalityofit),howeverithassince(today!)beenbroughttomyattentionthat
thisisaseriousviolation,notonlyofthecontract,butperhapsofthewriters'intentions.Soweare

takingouttheseaddedlyrics,unlessyouthinkthiswouldnotcompromiseyourintentionswiththe
show.

Besidesthis,Ithinkyouwouldenjoythisproduction.Wehaveaverytalentedcastallofthemtriple
threats.Thedesignershavedoneanamazingjobaswell,particularlyconsideringthebudget($1000for
productionexpenses,excludingrightsandmusicians).Theshowisalsobeingpreformedonathrust
stage,whichdemandedsomecreativeproblemsolving,butitreallylooksgreatonasmallerstage.

Thanksforwritingsuchawonderfulshow.Itisreallypowerfulandentertaining.
Sincerely,SteveRay

AnswerfromStephenSchwartz:
DearMr.Ray:Actually,otherthantheinterpolatedlineforBerthewhichstrikesmeasalittleoutof
character,theothersseemfinetome.WhileIwouldnormallybeextremelyaversetointerpolations
fromothermaterialintoanyshowofmine,itseemsobviousthatheretheyarepartofaclearoverall
directorialconcept,andareintendedassatiricalcommentaryandnotmeanttoimplythattheyarepart
ofmyscore.Probably,ifthiswereaBroadwayrevivalorevenanationaltour,Iwouldfindit
objectionable,butforacollegeproductionwherethereferenceswillbewidelyunderstoodbythe
audience,Ithinkitshouldbefine.Soinotherwords,ifyouwanttoandit'snottoolate,putthemback
(exceptforBerthe's,fortheabovestatedreason.)Ihopeyourproductionissmashinglysuccessfuland
thatyouandyourcasthaveagreattimedoingtheshow.Bestwishes,StephenSchwartz

ExtraordinaryandMarkingTime
Hithere,IdirectedaproductionofPippinatStanfordaboutfiveyearsagoandweputMarkingTime
backinandtookoutExtraordinary.WhileIloveExtraordinary,IfeltMarkingTimeactuallydealtwithhis
feelingsforCatherineversushisdisillusionmentwithEverydayLife.Ialsomadeintoakindofduet,with
theLeadingPlayercoercingPippintomakehisdecisiontoleaveinthesong.Ithinkwemaybetheonly
productiontohaveactuallyusedthesongintheshow.CorrectmeifI'mwrong.Andrew

AnswerfromStephenSchwartz:
WhileIhavealwayslikedMarkingTime,thereisofcourseagoodreasonitwasreplaced,whichisthat
"Extraordinary"worksmuchbetterthematically.Theemotionalmessageof"MarkingTime"iswell
conveyedinthebook,particularlyinthescenewherePippinsits"attheheadofthetable"andthe
followingscenewithCatherine.Moreimportanttothestoryisnottoforgetthepullonhimofhis
originalquestwithinthelongCatherinesequence,whichiswhat"Extraordinary"dealswith;otherwise,
thefinalscenewiththePlayerslackssomepersuasiveness.Technicallyofcourse,itisimportantforyou
(andothers)toknowthatitisactuallyillegaltoreplacesongsorotherwisechangeashowyouhave
licensedwithoutobtainingtheauthor'spermission.I'msureIwouldhavegranteditforthisone
production,whichwasafterallatacollegeandthereforepartiallyalearningexperience.Butingeneral,
Iwouldnotbeinfavorof,norpermit,returningto"MarkingTime"inplaceof"Extraordinary".Sincerely,
StephenSchwartz

PIPPINQuestionaboutIntermission
Question:
Ilovethenewending,andamthrilledthatithasbeenaddedinsoseamlesslytotheshow.Idonotlike
theadditionoftheintermission.Ithinkthatitbreaksupthemomentumoftheeveningthatisbuilding
towardsthefinale.Ialsodonotlikethefactthatwehearthefinalesoearlyandalso,thatwelosethe
scenewiththewanderingbody.Iunderstandtheneedforanintermissionthatmanytheatershave,

but...unlikethenewendingwhichseemstometohavealwaysexisted,undiscovered,thisintermission
feelsunnatural.

Now,pleasedon'tmistakeme,Irespectyourvisionasanartistandwilldomybesttoputforthwhat
youfeelisthebestincarnationoftheshow,butisthereanoptionavailableforthoseofuswhowantto
riskthedamagetoourseatsandkeepitaoneactmusical.Thankyouagainforyourgenerositywith
yourtimeandforevenconsideringmyrequest.

AnswerfromStephenSchwartz:
TherecentproductioncurrentlyrunningattheMarkTaperinLosAngelesisperformedwithoutan
intermission,andisaversionIreallylike.Itrunsjustundertwohours,whichislongforanaudienceto
sitintermissionlessthesedays,butaudiencesdon'tseemtobeobjecting(theyarewarnedbythefront
ofhousestaffastheyenterandalsobypostedsigns).Theproductionincludesanewsong(entitled
"BackintheBosom"asin"thebosomofthefamily"inthefirstscenewherePippinreturnshome,in
placeof"WelcomeHome",whichIneverfeltworkedverywell).Inordertogettherunningtimedown
tothisrelativelymanageablelength,manysmallcutsweremade,andIthinktheyareforthebetter.
TheonlyoneIcutIwouldquestionforaproductionnotspecificallydesignedforDeafWestisthe
eliminationof"Extraordinary"Iwouldrecommendrestoringthatsongforotherswishingtofollowthe
scriptofthisproduction,whichIamhopingtobeabletomakeavailable.Soyes,itispossibletodoa
versionwithoutintermissionifdesired.Thanks,StephenSchwartz

Pippin:NewEnding/CastingTheo
[QuestionaboutcastingTHEOwhenusingthealternate/newendingofPIPPIN]

AnswerfromStephenSchwartz:
Theoisfifteenorsothroughout,sothatasanadolescent,heisjustcomingtotheplacewhereheis
readytobeginthejourneythatPippinhasjusttaken(andallofustakeaswecomeintoadulthood.)If
he'stooyoung,it'snotbelievablewhenhesings"CorneroftheSky"attheendaneightyearoldisn't
thinkingthatway.

Doesitchangetheoutlookoftheshow?Notatall.Ifanything,itunderlinestheuniversalityofthe
experiencein(Ithink)acleverandtheatricalway.Thanksforyourinterest.Sincerely,StephenSchwartz

AnothercommentfromStephenSchwartzabouttheTheoending:
It'sdifficulttoimagine(itwascertainlydifficultformebeforeIsawit),buteverylineofTheo'sdialogue
workswithhimasasortofsullenteenager.Infact,it'sfunnier("thesmalllovableboy"lineofthe
LeadingPlayer'sbecomesironicandgetsanicelaugh.)Andhisattachmenttohispetduckisactually
quitebelieveableandsurprisinglytouching.ThenwhenhelapsesintoGothlikedespair,it'smore
believeablewhenhe'splayedbyateenagerthanwhenhe'sasmallerchild.Andfinally,hisattachment
toPippinandhisgiftofthefluteatthescenebeforePippinleaveshasmorehearttoit,becauseithas
beensohardwon.AsIsay,thiswasallsurprisingtomewhenIsawitforthefirsttime,butsofarmy
EMailaboutitfromvariousproductionswhohavetriedithasbeenunanimouslypositive.

PIPPINnewending
Question:
DearMr.SchwartzandMichael,
SomemonthsagoyouprovidedmethematerialstoincludethetweakedendingofPIPPINintoa
productionthatIdirected.WOW.ItSOOOOOworked.Icasta15y/0asTheoandgavehima

"rebel/smartass"personawhichenhancedhis"Corner"rep.attheendalot.Chilling.Also,Itookafew
artisicliberties(whichyoumaynotlike)thatupdatedPippin'sjourneyabit.Forexample,insteadofthe
QuinceFlambePudding/headofthetablebit,IhadCatherineandTheosuprisePippinwitharecliner(a
longstandingsymbolofmidwestsmalltown)whichhappenedtobelongtoCath'sdeadhusband.It
clearlydefinedherexpectationsandfreakedPippinout.

Also,IreconceivedtheWithYousequencefrom'meltedbutter'on.Idecidedtomakeit"Pippin'sLove
Life:AHistoryLesson".ThelessonincludedJRHIGHPIPPIN,PIPPININHIGHSCHOOL,SELF
GRATIFICATIONPIPPIN,CYBERPIPPIN,SILVERBULLETPIPPIN(astripclubtribute),andfinally,HiNRG
PIPPIN(whichwasatarave...afriendofmineremixedtheJackson5versionofCORNERintoawhipass
technojam).TheravesequenceinvolvedepisodesofPippintryingCrystalMethwithhis"girlfriendof
themoment"andnotgettingtherush.AsraveconcludesPippin'sgirlfriendpassesoutwithblood
runningoutofhernose,andaplayerscreamingviolently,thenPippinsaying,"enoughenough".

Also,sincetheproducingorganizationwasnervousabouttheuseoffire,Ihadthe"fireguy"enterboth
timeswithacanofgasinhishand.Afterthesecond"Now?",theLeadingPlayerdousedhimwith"gas"
andsenthimtoacubewhichhadaprojectionofflamesaboveit.Ashejumpedin,aflashpotwentoff,
andthe"firedude"cameouttocompletethebit.WhenitwasPippin'sturn,theleadingplayerdoused
Pippinwithgasaswell.Iknowitsoundscheesy,buttheadditionof"gas"clearlydefinedthetrickwith
minimalfireusage.TheemotionalthrustofPippindecidingtobeafatherandspousewascrystalclear.I
don'tknowifyouwouldhaveapprovedofthesechanges,andIapologizeifyoudon't,butIfeltitwas
importantforPippintofacechallengesthatyoungadultsinsearchofthetoohypedAmericanDream
faceTODAY.Theresponsewasverypositive.

MaybeImthenextBobFosse,thenagain...maybenot.ThanksforPIPPIN.Isthereanyothershowthat
speaksto"everyperson"suchasPIPPIN?Notinmyopinion.Corse,itwillalwaysbeapartofme,
anytimeIwantit.Why.....it'srightinsidemyhead.
Best,CorkySinclarewannabe

AnswerfromStephenSchwartz:
DearCorky:Well,youmightbethenextBobFosseafterall.Iforonereallylikeallyourideas,atleastas
youdescribethem,andI'mgladtheycameoffsowell.Goodforyou,andthanksforlettingmeknow.It's
truethatsometimesIgetapproachedaboutchangesandIreallydon'tlikethem,becauseIthinkthey
distortoraltertheunderlyingcontentoftheshow.What'sgoodaboutallthethingsyoudidisthatthey
wereoriginalandcontemporarybutcompletelysupportedtheauthors'originalintention(forinstance,
CatherinebringingPippinareclinerchair,anobvioussymbolof"settlingdown"insuburbia.)It's
differentinthespecific,butentirelyconsistentwithwhatthematerialistryingtosay.Ineverobjectto
creativechanges(indeedIwelcomethem)whentheyareanattempttorealizetheauthors'goals,as
opposedtotryingtorewritetheshow.

Thanksagainforgettingintouchandcongratulationsonyourclevernessandthesuccessofyour
production.Sincerely,StephenSchwartz

PIPPIN:Permissiontomakeachange?
Question:
Myrequestistohavepermissiontoaddtheverse,"Somanymenseemdestined,tosettlefor
somethingsmall..."beforethechorus"Riversbelong..."inthenewversionoftheFinale.Itismybelief
thatthiswouldmorecloselytiePippin'sendingtoTheo'sbeginningbyhavingTheoverydirectly

commentonthefinalfateofPippin'sjourney.Ialsofeelthatthiswillexpressthearroganceofyouth,in
thefactthatTheohasjustseenexactlywhathappenedfromfollowingsuchthinking,andyetfor
whateverreasonseemsassuredthathisendingwillbedifferent.

AnswerfromStephenSchwartz:
Thanksforyourquestion.HavingjustseentheexcellentproductioncurrentlyplayingattheTaper,Ican
confidentlyanswerthatitisn'tnecessarytoaddthatverseforTheo;theminutehestarts"Riversbelong
wheretheycanramble",wegetit.Ialsothinkthatitistoolateintheshowtoaddaverse,butthat's
reallysecondarytothefactthattheaudiencegetsitwithouttheverse.Iappreciateyouraskingand
hopeyourproductionturnsoutsmashingly.Sincerely,StephenSchwartz

NewEndingOptions
Question:
IrecentlyacquiredtherightsforPippinanditwouldseemthatthereiscurrentlynooptiononwhich
endingyoucanuse.YoumustusetheendingwithTheo'sCornerandusetheintermission.Iam
extremelyupsetthattheoptionhasbeenremovedsinceIwouldprefertousetheoriginalendingsinceI
likethemessageitportrays.Itevenmissesthe"trapped,buthappy"(etc)line.IwishMTIwouldissue
bothoptions,butapparentlytheynolongerlicensebothversions?Seemskindofweirdtome.Does
anybodylicensetheoriginalending/oneactversion?

AnswerfromStephenSchwartz:
Youdon'thavetousetheintermission,thoughIstronglyrecommendit,especiallygiventheattention
spanoftoday'saudiences.Sorry,however,Ihavenointerestinlicensingaproductionwiththeold
ending.Ihavetosaymyfeelingisprettymuchifsomeonedoesn'twanttodothenewending,they
shouldn'tproducetheshow.Sincerely,StephenSchwartz

PIPPINNewEnding/Intermission
CommentspostedbyMichaelCole:
Hereisalltheinformationyoushouldneedtoincludethenewendingandanintermissioninyour
production.Nospecialpermissionisnecessarytoincorporatetheseintoyourproduction:

ThisnewendingrequiresTheotobeoldenoughtobebeginningtomakehisownchoices.Irecommend
thatTheobeplayedbyaboyofaboutfifteenandthatheparticipateasamemberofthe"troupe"inthe
restoftheshow.TheLeadingPlayer'sdescriptionofhim,therefore,asa"smalllovableboy"becomes
ironic.ButhecanstillplayhisaffectionforhisduckandgrowingaffectionforPippinaswritten.

TheshowproceedsaswrittentothepointwherePippin,Catherine,andTheoarestandingaloneinthe
worklight,havingbeenstrippedoftheircostumesandallthesceneryandfancylighting.Thetroupehas
exitedandtheorchestrahasstoppedplaying.Asinthecurrentversion,Pippinsings,acappella:"I
wantedmagicshowsandmiracles/miragestotouch/Iwantedsuchalittlethingfromlife/Iwantedso
much..."Butthereisnofurtherdialogue.Insteadhesings:"Inevercameclose,mylove/wenearlycame
near/itneverwasthere/Ithinkitwashere."HekissesCatherine,andhandinhandtheystarttowalkoff
thestage,notnoticingthatTheohasremainedbehindcenterstage.Verysoftlyatfirst,andthenwith
growingconfidence,Theobeginstosingacappela:"Riversbelongwheretheycanramble/eaglesbelong
wheretheycanfly..."PippinandCatherineturnandlookatTheowithsurprise,asTheocontinues:"I've
gottobe/wheremyspiritcanrunfree..."Andfromthecornersofthestage,theLeadingPlayerandthe
troupebegintocreepon,allfocussingatTheo.Itiscleartheysensetheirnextvictim.Theofinishes:
"Gottafindmycornerofthesky"asthelightbeginstogrowbrighteronhim.TheLeadingPlayerholds

outhishandtoTheoasthetroupesingsthe"Ooohoohoohooh's"thatstarttheshow,theorchestra
comesbackin,andthelightsgrowbrighterandbrighterandthensuddenlyblackout.Andthat'sit.I
hopethisdescriptionisclear.Ithinkyoucanseehowchillingitcanbeandhowwellitroundsoffthe
showbybringingitfullcircle.Itrequiresalittlebitofworkfromyourmusicaldirectortoworkoutthe
waytheorchestracomesinandhowtoendtheshowmusically,butit'sprettyselfexplanatoryandonly
afewbarslong.

PIPPINEndofActOne

(AfterCHARLEScomesbacktolifeand
givesPIPPINbacktheknife...)

CHARLES
Oh,that'sallright,son.Butdon'tletithappenagain.

PIPPIN
(ToLEADINGPLAYER)
Well,dammit!NothingturnsoutthewayIthoughtitwould.I'mgettingold
..veryold.AndIstillhaven'tdoneanythingwithmylife.

LEADINGPLAYER
Wellthen,maybeit'stime.

PIPPIN
Time?

LEADINGPLAYER
FortheFinale.Ipromisedyouanextraordinarylifeandanextraordinary
climax,remember?Aclimaxneverbeforeseenonapublicstage.

(Hesnapshisfingersandthemusicfor"ThinkAboutYourLife"begins.
TheCASTstarttosing"Aahs"tothemusicasthePLAYERWITHTORCHappears.)

PIPPIN
What'sgoingon?Whatisthis?

ALL
THINKABOUTYOURLIFE,PIPPIN...

PIPPIN
Yes,that'swhatIneedtodo.Ineedtothink...Ineedtobealonefora
while.

(Hestartsoff.)

LEADINGPLAYER
(Grabshim)
No..Whereareyougoing,Pippin?TheFinale...


PIPPIN
(Pullingaway)
Ihavetohavetimetothink!
(Herunsoff.)

(Thecastlooksafterhim,bewildered.TheLEADING
PLAYERismomentarilynonplussed.)

PLAYERWITHTORCH
(ToLEADINGPLAYER)
Now?

LEADINGPLAYER
(Snapsathim.)
Ofcoursenotnow,youidiot!
(Recovershimself,turnstotheaudience,smiles)
It'sallright,we'rejustgoingtoneedalittlemoretimethat'sall.
(ToCATHERINE)
YouCatherine.You'dbettergetready.We'regoingtobeneedingyou.
(Heturnsbacktoaudience,morerelaxednow.
Abigsmile.)
Don'tworry.Wewon'tdisappointyou.Weneverdisappoint.You'llhavethe
climaxwepromisedyou.

ALLBUTLEADINGPLAYER
WE'VEGOTMAGICTODO
JUSTFORYOU
WE'VEGOTMIRACLEPLAYSTOPLAY...

LEADINGPLAYER
(Toaudience)
Trustme!

ALL
ASWEGOALONGOURWAY!

ENDACTONE

PIPPINOpeningofACTII

(PIPPINisdiscoveredaloneonstage,pacing
andsingingagitatedlytohimself)

PIPPIN
(acapella,verydetermined)

RIVERSBELONGWHERETHEYCANRAMBLE
EAGLESBELONGWHERETHEYCANFLY
I'VEGOTTOBE...
SPIRITCANRUNFREE...
GOTTAFINDMYCORNER...
GOTTAFIND...
GOTTAFINDMYCORNER...

(TheLEADINGPLAYERrunson.Whenhesees
PIPPINhestops,watchesforamoment.Then,
elaboratelycalm,hecallstoPIPPIN.)

LEADINGPLAYER
Thereyouare.Anythingyouneed?Whateveryoulike...

PIPPIN
I'dlikealittlepeaceandquiet,ifyoudon'tmind.

LEADINGPLAYER
Look,Pippin.Youmaynotbelievethis,butthingsaregoingaccordingto
plan.

PIPPIN
Theyare?

LEADINGPLAYER
Ofcoursetheyare.Takeiteasy...
(sings:)
YOULOOKFRENZIED,YOULOOKFRAZZLED...

(Etc.)

PIPPINEndofActII

LEADINGPLAYER
Youtrysingingwithoutmusic,sweetheart!

(TheLEADINGPLAYERgoes.Thestageisdarkexceptfortheworklight.
PIPPIN,CATHERINEandTHEOarealoneonstage.PIPPINsingsacappela)

PIPPIN
IWANTEDMAGICSHOWSANDMIRACLES
MIRAGESTOTOUCH
IWANTEDSUCHALITTLETHINGFROMLIFE
IWANTEDSOMUCH
INEVERCAMECLOSE,MYLOVE

INEVERCAMENEAR
ITNEVERWASTHERE
ITALWAYSWASHERE...

(Hekissesherand,handinhand,they
begintoleavethestage.THEOremains
behind,standingcenterstage.Verysoftly
atfirst,hebeginstosing,acapella)

THEO
RIVERSBELONGWHERETHEYCANRAMBLE
EAGLESBELONGWHERETHEYCANFLY...

(PIPPINANDCATHERINEturntolookatTHEO,
whobeginstosingmorestronglynow)

THEO
I'VEGOTTOBE
WHEREMYSPIRITCANRUNFREE...

(Andsuddenly,onthefringesofthestage,
thePLAYERSbegintocreepinagain,all
focussingonTHEO,smilingathim,reaching
outtohim.Alightstartstogetbrighteron
THEOastheorchestrabeginstoaccompanyhim)

THEO
GOTTAFINDMYCORNER
OFTHESKY...

(TheLEADINGPLAYERcomesabitmoreonstage
andreachesouthishandtoTHEO.THEOturns
tolookattheLEADINGPLAYERasPIPPINand
CATHERINElookonhelplessly.ThePLAYERSbegin
theopeningseductivechordsof"MagictoDo")

PLAYERS
OOHOOHOOHOOH
OHHOOHOOHOOH...

(ThelightonTHEOgetsbrighterandbrighter
astheorchestraswells...)

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