PippinNotesforDirectorsandMusiciansThefollowingquestionsandanswersarefromthearchiveoftheStephenSchwartz.comForum.CopyrightbyStephenSchwartz2010allrightsreserved.Nopartofthiscontentmaybereproducedwithoutpriorwrittenconsent,includingcopyingmaterialforotherwebsites.Feelfreetolinktothisarchive.Sendquestionstooffice@stephenschwartz.comPermissionto"Adapt"PippinforHighSchool?Question:IamteachinghighschooldramaandchorusnowinBocaRaton,Florida.Thisismyfirstyearatthisschool,andsecondyearteaching.IonlyreallyknowPippinandGodspell...AretheBaker'sWife,Working,orChildrenofEdenaccessibletothehighschoollevel?Also,isitpermittedtoadaptPippintomakeitmoreappropriatefortheagelevel?I'mconcernedaboutthelanguageandPippin's"exploits"...Iabsolutelylovetheshow,andthinkitwouldbeperfectforthestudentsI'mworkingwith.Findingoutthatyouwere25whenthatwasonBroadwayhasmotivatedmeintobelievingthatICANdirectashow!AnswerfromStephenSchwartz:PIPPIN,WORKING,andCHILDRENOFEDENareveryfrequentlyperformedinhighschools(BAKER'SWIFEisabitmoredifficult,becauseitneedsacoupleofreallyextraordinaryperformers,plusthesubjectmatterislessimmediatelyaccessibletohighschoolstudents.)AlltheseshowsarehandledbyMTI:www.mtishows.com.IknowmanyhighschoolsslightlybowdlerizethesexualcontentinPIPPINwithnolosstothebasiccontentandmessageoftheshow,justasmanyhighschoolswhichpresentWORKINGchangesomeofthelanguagetoeliminatetheprofanityacoupleofthecharactersuse,againwithoutanymajorlossofcontent.CHILDRENOFEDENisusuallyperformedexactlyasis,theonlydifficultiesbeingthatsomeofthemusicischallengingandthatitisarelativelybigshow.I'mdelightedinyourinterestinmywork,andIhopeoneormoreoftheseshowswillworkforyou.Ifyoudecidetodoone,pleaseletmeknowhowitgoes.Sincerely,StephenSchwartzPippin:FemaleLeadingPlayer?[Questionmissing]AnswerfromStephenSchwartz:Ihavenotactuallyseenoneofthemanyproductions(includingmajorprofessionalones)inwhichtheLeadingPlayerwasplayedbyawoman,butIdon'tseeanyreasonwhyitshouldn'twork.ThemotivationoftheLeadingPlayer‐‐whichtoansweryourquestionisabsolutelyvitalandcentraltotheshow‐‐istoleadthecharacterofPippintohisdestruction,andthatseemsessentiallygenderlesstome.Ofcoursetheotherplayerssharehisgoal,butwithouttheLeadingPlayertopersonifyandfocusitintoonecharacter‐‐andimportantly,onetheaudiencefindscharismaticandlikable‐‐theshowwouldloseitspower.ItwouldbelikeOTHELLOwithoutIago‐‐sure,youcouldhaveOthellobecomejealousofDesdemonabasedonhisowninnerinsecuritiesandfromhearingnamelesscourtiersgossip,butwouldyoureallywanttoseethatversionoftheplay?Thanksforaskingandbestwisheswithyourproduction.StephenSchwartzHeadlessManinPippin???Question:Hi.I'mdirectingPippin.OpensOct.16'02.Iwouldlovetostealafewgoodideasonhowtostagetheheadlessmanscenes.Anyonewanttotossmeafew?Thanks.GeoffreyHowardMissouriValleyCollege

Answerfromadirector:ThelasttimeIdirectedit,Ihadsomeonethrowoutaspecialheadwemadeupinthescenewherethebodypartsaretossedonstage.Whenthecleanupcrewcameout,theyplacedtheheadonaspikewehadontopofashortcastletowerthatwaspartoftheset.AnactorinthetowerthenputhishandintheheadandmanipulateditlikeapuppettospeaktoPippin.Theaudiencelikedit."Answerfromanotherdirectorabouttheir“lowtech”headlessman:Forthefirstheadlessmanscene,wehadanactorcrouchinginsideaboxwithjusthisheadstickingoutandanorange‐yredmaterialdrapedaround(sortoflookedlikeblood).Then,outofthesideofthebox,wehadanotheractorliedownsothathisheadwasnotvisibleandsothathelookedlikehehadbeendecapitated.Forthesecondscene,weriggedupa"headlessman"costumeinvolvingaverylargetrenchcoat(ouractorwasfairlyshort),withfake"shoulders"attachedabovetheactor'sactualheadunderneaththecoat.Thecoatwasbuttonedandthearmsandhandswerestufffedtolookliketheywereholdingthehead,whichstuckoutofwhatlookedlikethe"belly"ofthecostume.Westuckthesameredmaterialintheneckofthecoat.Theactorthenwalkedonstagetosayhislinesandwalkedoff...likeIsaid,VERYlow‐tech,butitgotachuckleandservedit'spurpose....Forthefinalefire,weriggedupafan,redstrobelight,andflame‐shapedpieceoforangegossamerwhichlookedAWESOME(whenitworked).PIPPIN:IGuessI'llMisstheMan[Question/commentaboutthecuttingof“IGuessI’llMisstheMan.”AnswerfromStephenSchwartz:I'mhappytosayIpersonallyhaveneverseenaproductionwherethesong"IGuessI'llMisstheMan"iscut.Whatabadidea.Anydirectorwhocutsthesongdoesnotunderstandtheshow.However,IsuspectthereasontheydoitisbecauseintheMTIscript,thelinesinwhichtheLeadingPlayertellsCatherine:"Youdon'thaveasonghere...youbetterstopsingingnow"(asshecontinuestosing)arecut.Ithinkthoselinesshouldberestored.Sincerely,StephenSchwartzPIPPIN:"WithYou"‐TerminologyQuestionQuestion:Iwantedtoknowwhatthetempomarking'MeltedButter'meansinthesong'WithYou'fromPippin.Istherearoundaboutmetronomemarkingforthatsection?I'vetriedsearchingtheentiresiteanddidn'tcomeupwithanything.Ifigureitisadescriptionofakindoffeel,butIdidn'twanttojustassumethat.AnswerfromStephenSchwartz:Ihavenoideawhatversion(s)of"WithYou"havethetempomarking"MeltedButter",andit'scertainlynotadescriptionthatIsuggested.Icheckedmycopiesofthemusicandtheyallsimplysay"Gently"‐‐whoevercameupwith"MeltedButter"wascertainlycreative,though.Anyway,mysuggestionwouldbeapproximatelyquarternote=68.Hopethathelpsandthanksforyourinterest,StephenSchwartzCopyrightQuestionfrom“Manfred”HiStephen.Iseethatalotofpeoplewritetoyoutoaskyouropinionaboutmakingchangestoyourshows.InMTIlibrettositsays"Youarenotpermittedtomakeanychangestothemusic,lyricsor

dialogueofthePlay,includingtheinterpolationofnewmaterialand/ortheexclusionofexistingmaterial."Iamveryconcernedaboutthis,andalsoverysurprisedthatsomanypeopleseemtobepublicizingthefactthattheyhaveapparentlybrokentheirlicensingagreement.Iwouldvalueyouropiniononthematter,becausethelibrettoclearlysaysthecopyrightbelongstotheauthorsandthat"Anychangesshallconstituteawilfulinfringementofsaidcopyright"...Iinterpretthistomeanthatifyoudon'tmind,nobodyminds.HerearethechangesI'mthinkingaboutforPippin:1)Thelibrettoandscoredisagreeinseveralplaces,soyouchoosewhichtokeep.2)Afullbandisn'tavailable,soyoumakeacompromiseonwhoplayswhat.3)Someoftheincidentalmusicgetscut,becausewecan'tdoitjustice.4)I'dlovetoextendashortsongbyinsertingaversefromtheoriginalprintedvocalselection(laterdropped).I'mthinkinghereof"IGuessI'llMissTheMan".5)We'dliketokeeptheoriginalending,butheartheLeadingPlayersing"Joinus"toTheojustbeforeblackout.6)Isaddinganoverturegoingtoofar?Maybeyoucouldgiveafewwordsofadviceregardingwhereyouseethelinebeingdrawnbetweenacceptableartisticinterpretationandunacceptablecopyrightinfringement.Thanks.AnswerfromStephenSchwartz:Thanksforyourquestions.Ialwaysappreciatewhenanyonedoingoneofmyshowsaskspermissiontomakechangestothepublishedscript;asyoupointout,toofewdo.Intermsofyourspecificquestions:

1) Thelibrettoandscoredisagreeinseveralplaces,soyouchoosewhichtokeep.Answer:Yes2) Afullbandisn'tavailable,soyoumakeacompromiseonwhoplayswhat.Answer:Yes3) Someoftheincidentalmusicgetscut,becausewecan'tdoitjustice.Answer:Yes4) I'dlovetoextendashortsongbyinsertingaversefromtheoriginalprintedvocalselection

(laterdropped).I'mthinkinghereof"IGuessI'llMissTheMan".Answer:I'mactuallynotawarethatanyoftheversesof"IGuessI'llMisstheMan"havebeencut.Theformofthesongshouldbeverse,verse,bridge,lastverse.ItisOKwithme(infactIrecommendit)ifyouinterpolate,asmanydo,theLeadingPlayersayingthingstoCatherinelike:"Youdon'thaveasonghere"and"Ireallydon'tthinkyoushouldsinganymore"betweentheverses.

5) We'dliketokeeptheoriginalending,butheartheLeadingPlayersing"Joinus"toTheojustbeforeblackout.Answer:OK,butI'mnotsureacombinationofthetwoendingswillwork.Butifyouhaveawaytodoit,byallmeanstryit.

6) Isaddinganoverturegoingtoofar?Answer:OKThanksagain,andIhopeyourproductionisbothabigsuccessforyouandthatyouhaveagreattimedoingtheshow.Sincerely,StephenSchwartz

ReplyfromManfred:We'reverygratefulforyourwordsofencouragement,thankyou!Regarding"IGuessI'llMissTheMan",whatwehadinmindwasthis.It'sabeautifulsong,wonderfullytouching,but("eventsmovesoswiftly"...)Catherinecanbedoneandoffstageagainbeforetheaudiencerealiseswhat'shappened.Bymakingitlingeralittle,theaudiencehastimetoappreciateshereallydoeshaveabrokenheart.

Thevocalselectionbookfrom1972hasthemiddleversegolikethis:"Heneversmiledenough,Butthoughhiswordsweregruff,Ilikedhisshy,sadglance.Inevertoldhimso,Butthen,Inevergotthechance."We'veaddedthisasournewsecondverse,andtheformofthesongbecomesverse,addedverse,bridge,verse,bridge,lastverse.Ofcourse,thejokeattheendofthebridgecan'tberepeated,soinsteadCatherinebreaksoffat"Thisman..."andrecomposesherselfbeforeanyoneseesthetearinhereye.Finally,there'sonemorequestionI'msurealotofyourfansoutthereneedtoknowtheanswerto(evenifit'snottheanswerwewanttohear...)What'syourpositionregardingamateursvideoingtheirproductionsofyourshows?Thanksagain.AnswerfromStephenSchwartz:ThereareallsortsofversionsoflyricstoPIPPINsongsfloatingaroundoutthere,whichIguessshowshowmuchrewritingIwasdoing.Ihadforgottentheverseyoucited,butIdolikeit.Ifearwhenyoudothesongintheformyousuggest,itwilloutstayitswelcomefortheaudience,butifitworksforyourproduction,sobeit.Intermsofamateurvideotapingofproductions:Thistypeofrequestishandledbythelicensingcompanywhereyousecuredperformancerightstotheshow.Thesetapesaretechnicallyillegal.Thathavingbeensaid‐aslongasthevideotapesarenotforsaleunderanycircumstances‐Ihavenoproblemwithit,butofcourse,don'ttellmeaboutthem.Allbestwisheswithyourproduction,StephenSchwartzRe:Clowns,mimesandmagiciansQuestion:MyquestionaboutPippincostuming,inparticular,camefromthefactthatI'vebeenhavingtroublehelpingmyaudienceandfellowmusicaltheatrepeopleunderstandthesymbolisminPippin.Iamafairlywelllikeddirectorofmusicalsinacommunitywithadominantreligionthatproclaimsnoothersuccesscancompensateforfailureinthehome�andthatfamilyshouldbethehighestpriority.SincePippinisthestoryofapersonwhoultimatelyfindsthemostfulfillingpersonalchoicetobealifewithafamilyeventhoughsuchalifecannotbehadwithoutsacrificeofpersonalfreedomsanddesires,IwouldthinkthatthesepeoplewouldseePippinasIdo–animportantstorythataffirmsmyfaithandlifestyle.Buttheytendtobeconfusedandfrightenedbyit.Somuchso,thatIhavenotyetbeensuccessfulinpersuadingthecommunitytheatreinwhichIamtheartisticdirectortosupportmedirectingit.Certainlytheorgy,flyingbodypartsandsexjokeshavealottodowiththeirfear.However,eventhosewhogetpastthattendtoaskme,whatwerethoseclownsfor?�IrealizethesymbolsalwaysspokeclearlytomebecauseIhavetheculturalliteracytoknowwhatcommediadelartewasandIrememberwhen,priortothereleaseofPoltergeist,theimageofapaintedface,thoughoftensinisterorscary,wasaniconoftheperformingartsasawholeandperhapslifeinatheatricalsenseinsteadofaparticulartypeofmonster.Forme,thesecharactersareparticularlypoignantasmostofthenonfamilyalternativesinmyownPippin‐esquejourneyhavebeenartistic.IseemtorecallreadinginoneofthosebooksinwhichyouandFosseareportrayedasdisagreeingovereverythingthattheoriginalconceptforstagingPippinwastohavethesettingbeacountrysideorsomeplaceonwhichtherovingplayerstheplayandthatFossesetitinthetheatreitself.Howwouldyoufeelaboutastaginginwhichtheplayersareportrayedasacommediatroupefromaparticulartimeperiodinsteadofacomtemporizedor

generalizedversionofsuch?Perhapstheyvisitahistoricalenvironmentcreatedonthestageorperhapstheybehaveasatravelingbandwhovisitthetheatrethatisproducingtheplay?AndwhatiftheyfoundPippinintheaudienceorsweepingthestage?Wouldthisdistractfromthevision?Thankyou,KevinMcClellanAnswerfromMichaelCole:DearKevin:Whatyouproposesoundsabsolutelyfinetome.TheperiodcostumesandtheideaofthistroupevisitingthetheatrewouldseemtomeexactlytherightsettingforPIPPIN.WhenPapermilldidPIPPIN,theyfoundtheactorwhowastoplayPIPPINinthefrontrowandhauledhimonstage‐soIknowthisworksandisacceptablebyStephen.IhaveforwardedyourquestiontoStephen,butheis(obviously)busythesedayswiththeWICKEDshow.Hemaygettowritingaresponsetoyou,butIjustwantedtopostmythoughtshere.I'mfairlyconfidentthatwhatyouareproposingwillbeacceptablebyStephen.Allthebest,Michaelpippin‐‐interpolatedlyricsDearMr.Schwartz,IamcurrentlydirectingaproductionofPippinattheUniversityofAlabama,whereIamagradstudentindirecting.Asamatteroffactweopentomorrownight(Nov.4).Thishasbeenawonderfulexperienceforme.IfellinlovewiththescriptlastspringwhenseveralofthestudentshererecommendedIconsiderdoingitforthisfall'sseason.IwasfamiliarwithGodspellandChildrenofEdenbeforethisbuthadneverheardorreadPippin.SoIreadthescript.Thethemesrangverytruetome‐‐thefalseperceptionoffameasfulfillmentandthecripplingfearof"settling",particularly.ItseemedtomethatyouandMr.Hirsonhadpropheciedthe"slacker"generation.Afterreadingthescript,IimmediatelythoughtofKurtCobain'ssuicidenotewhichheendedwiththewords(heborrowedfromNeilYoung?):"Remember,it'sbettertoburnoutthanfadeaway."Combiningthisquotewiththegenerallyacceptedviewthatartists/entertainers(specificallytheentertainerofthemoment)aretheoneswhoareinformingourpost‐modernsocietyasawhole,Idecidedtoletourplayersinthisshowbeagroupofpost‐modern,trashy,flashy,pop‐rocktypes.Thesearethevoicesinourheads.So,thestageisfullofsensual,cynicalMTVplayersmanipulatingPippin.Thisbringsmetomydilemma.Duringrehearsal,Ithoughtit'dbeinterestingtoseetheoccasional"quote"ofpopsongsthatisprevalentinpost‐modernart.So,keepingthesamechordstructureofthePippinmusic,weaddedfourquotes.Theyareasfollows:AfterBerthesings"byamanwhocallsmegranny",thedrumscontinueandshesingsBritneySpears'oneline"Hitme,baby,onemoretime."Thenshecountsoffandwe'rebackfull‐swing(andatthesamerhythm)into"JustNoTimeatAll."Astheplayersenterintotheorgyafter"WithYou",theyeachsingvariouslinesfromovertlysexualpopsongs.(i.e.Ifyouwanttobemylover,yougottagetwithmyfriends,Let'sgetiton,etc.)InplaceofFastrada's"doo‐doo's)attheendof"SpreadALittleSunshine,"shesingstheline"Voulez‐voucoucheravexmoi,cesoir"twice.Finally,whenPippinis"sewing"hesingsunderhisbreath"Iwantmy,IwantmyMTV."Well,Ithoughtthiswasfunandagoodwaytocommentonthepost‐modernaesthetic(andhadaskedsomepeopleaboutthelegalityofit),howeverithassince(today!)beenbroughttomyattentionthatthisisaseriousviolation,notonlyofthecontract,butperhapsofthewriters'intentions.Soweare

takingouttheseaddedlyrics,unlessyouthinkthiswouldnotcompromiseyourintentionswiththeshow.Besidesthis,Ithinkyouwouldenjoythisproduction.Wehaveaverytalentedcast‐‐allofthemtriple‐threats.Thedesignershavedoneanamazingjobaswell,particularlyconsideringthebudget($1000forproductionexpenses,excludingrightsandmusicians).Theshowisalsobeingpreformedonathruststage,whichdemandedsomecreativeproblem‐solving,butitreallylooksgreatonasmallerstage.Thanksforwritingsuchawonderfulshow.Itisreallypowerfulandentertaining.Sincerely,SteveRayAnswerfromStephenSchwartz:DearMr.Ray:Actually,otherthantheinterpolatedlineforBerthewhichstrikesmeasalittleout‐of‐character,theothersseemfinetome.WhileIwouldnormallybeextremelyaversetointerpolationsfromothermaterialintoanyshowofmine,itseemsobviousthatheretheyarepartofaclearover‐alldirectorialconcept,andareintendedassatiricalcommentaryandnotmeanttoimplythattheyarepartofmyscore.Probably,ifthiswereaBroadwayrevivalorevenanationaltour,Iwouldfinditobjectionable,butforacollegeproductionwherethereferenceswillbewidelyunderstoodbytheaudience,Ithinkitshouldbefine.Soinotherwords,ifyouwanttoandit'snottoolate,putthemback(exceptforBerthe's,fortheabovestatedreason.)Ihopeyourproductionissmashinglysuccessfulandthatyouandyourcasthaveagreattimedoingtheshow.Bestwishes,StephenSchwartz“Extraordinary”and“MarkingTime”Hithere,IdirectedaproductionofPippinatStanfordaboutfiveyearsagoandweputMarkingTimebackinandtookoutExtraordinary.WhileIloveExtraordinary,IfeltMarkingTimeactuallydealtwithhisfeelingsforCatherineversushisdisillusionmentwithEverydayLife.Ialsomadeintoakindofduet,withtheLeadingPlayercoercingPippintomakehisdecisiontoleaveinthesong.Ithinkwemaybetheonlyproductiontohaveactuallyusedthesongintheshow.CorrectmeifI'mwrong.AndrewAnswerfromStephenSchwartz:WhileIhavealwaysliked“MarkingTime”,thereisofcourseagoodreasonitwasreplaced,whichisthat"Extraordinary"worksmuchbetterthematically.Theemotionalmessageof"MarkingTime"iswellconveyedinthebook,particularlyinthescenewherePippinsits"attheheadofthetable"andthefollowingscenewithCatherine.MoreimportanttothestoryisnottoforgetthepullonhimofhisoriginalquestwithinthelongCatherinesequence,whichiswhat"Extraordinary"dealswith;otherwise,thefinalscenewiththePlayerslackssomepersuasiveness.Technicallyofcourse,itisimportantforyou(andothers)toknowthatitisactuallyillegaltoreplacesongsorotherwisechangeashowyouhavelicensedwithoutobtainingtheauthor'spermission.I'msureIwouldhavegranteditforthisoneproduction,whichwasafterallatacollegeandthereforepartiallyalearningexperience.Butingeneral,Iwouldnotbeinfavorof,norpermit,returningto"MarkingTime"inplaceof"Extraordinary".Sincerely,StephenSchwartzPIPPINQuestionaboutIntermissionQuestion:Ilovethenewending,andamthrilledthatithasbeenaddedinsoseamlesslytotheshow.Idonotliketheadditionoftheintermission.Ithinkthatitbreaksupthemomentumoftheeveningthatisbuildingtowardsthefinale.Ialsodonotlikethefactthatwehearthefinalesoearlyandalso,thatwelosethescenewiththewanderingbody.Iunderstandtheneedforanintermissionthatmanytheatershave,

but...unlikethenewendingwhichseemstometohavealwaysexisted,undiscovered,thisintermissionfeelsunnatural.Now,pleasedon'tmistakeme,Irespectyourvisionasanartistandwilldomybesttoputforthwhatyoufeelisthebestincarnationoftheshow,butisthereanoptionavailableforthoseofuswhowanttoriskthedamagetoourseatsandkeepitaoneactmusical.Thankyouagainforyourgenerositywithyourtimeandforevenconsideringmyrequest.AnswerfromStephenSchwartz:TherecentproductioncurrentlyrunningattheMarkTaperinLosAngelesisperformedwithoutanintermission,andisaversionIreallylike.Itrunsjustundertwohours,whichislongforanaudiencetositintermissionlessthesedays,butaudiencesdon'tseemtobeobjecting(theyarewarnedbythefront‐of‐housestaffastheyenterandalsobypostedsigns).Theproductionincludesanewsong(entitled"BackintheBosom"‐‐asin"thebosomofthefamily"‐‐inthefirstscenewherePippinreturnshome,inplaceof"WelcomeHome",whichIneverfeltworkedverywell).Inordertogettherunningtimedowntothisrelativelymanageablelength,manysmallcutsweremade,andIthinktheyareforthebetter.TheonlyoneIcutIwouldquestionforaproductionnotspecificallydesignedforDeafWestistheeliminationof"Extraordinary"‐‐Iwouldrecommendrestoringthatsongforotherswishingtofollowthescriptofthisproduction,whichIamhopingtobeabletomakeavailable.Soyes,itispossibletodoaversionwithoutintermissionifdesired.Thanks,StephenSchwartzPippin:NewEnding/CastingTheo[QuestionaboutcastingTHEOwhenusingthealternate/newendingofPIPPIN]AnswerfromStephenSchwartz:Theoisfifteenorsothroughout,sothatasanadolescent,heisjustcomingtotheplacewhereheisreadytobeginthejourneythatPippinhasjusttaken(andallofustakeaswecomeintoadulthood.)Ifhe'stooyoung,it'snotbelievablewhenhesings"CorneroftheSky"attheend‐‐aneight‐year‐oldisn'tthinkingthatway.Doesitchangetheoutlookoftheshow?Notatall.Ifanything,itunderlinestheuniversalityoftheexperiencein(Ithink)acleverandtheatricalway.Thanksforyourinterest.Sincerely,StephenSchwartzAnothercommentfromStephenSchwartzabouttheTheoending:It'sdifficulttoimagine(itwascertainlydifficultformebeforeIsawit),buteverylineofTheo'sdialogueworkswithhimasasortofsullenteenager.Infact,it'sfunnier("thesmalllovableboy"lineoftheLeadingPlayer'sbecomesironicandgetsanicelaugh.)Andhisattachmenttohispetduckisactuallyquitebelieveableandsurprisinglytouching.ThenwhenhelapsesintoGoth‐likedespair,it'smorebelieveablewhenhe'splayedbyateenagerthanwhenhe'sasmallerchild.Andfinally,hisattachmenttoPippinandhisgiftofthefluteatthescenebeforePippinleaveshasmorehearttoit,becauseithasbeensohardwon.AsIsay,thiswasallsurprisingtomewhenIsawitforthefirsttime,butsofarmyEMailaboutitfromvariousproductionswhohavetriedithasbeenunanimouslypositive.PIPPINnewendingQuestion:DearMr.SchwartzandMichael,SomemonthsagoyouprovidedmethematerialstoincludethetweakedendingofPIPPINintoaproductionthatIdirected.WOW.ItSOOOOOworked.Icasta15y/0asTheoandgavehima

"rebel/smartass"personawhichenhancedhis"Corner"rep.attheendalot.Chilling.Also,Itookafewartisicliberties(whichyoumaynotlike)thatupdatedPippin'sjourneyabit.Forexample,insteadoftheQuinceFlambePudding/headofthetablebit,IhadCatherineandTheosuprisePippinwitharecliner(alongstandingsymbolofmidwestsmall‐town)whichhappenedtobelongtoCath'sdeadhusband.ItclearlydefinedherexpectationsandfreakedPippinout.Also,IreconceivedtheWithYousequencefrom'meltedbutter'on.Idecidedtomakeit"Pippin'sLoveLife:AHistoryLesson".ThelessonincludedJRHIGHPIPPIN,PIPPININHIGHSCHOOL,SELF‐GRATIFICATIONPIPPIN,CYBERPIPPIN,SILVERBULLETPIPPIN(astripclubtribute),andfinally,HiNRGPIPPIN(whichwasatarave...afriendofmineremixedtheJackson5versionofCORNERintoawhip‐asstechnojam).TheravesequenceinvolvedepisodesofPippintryingCrystalMethwithhis"girlfriendofthemoment"andnotgettingtherush.AsraveconcludesPippin'sgirlfriendpasses‐outwithbloodrunningoutofhernose,andaplayerscreamingviolently,thenPippinsaying,"enoughenough".Also,sincetheproducingorganizationwasnervousabouttheuseoffire,Ihadthe"fireguy"enterbothtimeswithacanofgasinhishand.Afterthesecond"Now?",theLeadingPlayerdousedhimwith"gas"andsenthimtoacubewhichhadaprojectionofflamesaboveit.Ashejumpedin,aflashpotwentoff,andthe"firedude"cameouttocompletethebit.WhenitwasPippin'sturn,theleadingplayerdousedPippinwithgasaswell.Iknowitsoundscheesy,buttheadditionof"gas"clearlydefinedthetrickwithminimalfireusage.TheemotionalthrustofPippindecidingtobeafatherandspousewascrystalclear.Idon'tknowifyouwouldhaveapprovedofthesechanges,andIapologizeifyoudon't,butIfeltitwasimportantforPippintofacechallengesthatyoungadultsinsearchofthetoo‐hypedAmericanDreamfaceTODAY.Theresponsewasverypositive.MaybeI’mthenextBobFosse,thenagain...maybenot.ThanksforPIPPIN.Isthereanyothershowthatspeaksto"everyperson"suchasPIPPIN?Notinmyopinion.Corse,itwillalwaysbeapartofme,anytimeIwantit.Why.....it'srightinsidemyhead.Best,CorkySinclarewannabeAnswerfromStephenSchwartz:DearCorky:Well,youmightbethenextBobFosseafterall.Iforonereallylikeallyourideas,atleastasyoudescribethem,andI'mgladtheycameoffsowell.Goodforyou,andthanksforlettingmeknow.It'struethatsometimesIgetapproachedaboutchangesandIreallydon'tlikethem,becauseIthinktheydistortoraltertheunderlyingcontentoftheshow.What'sgoodaboutallthethingsyoudidisthattheywereoriginalandcontemporarybutcompletelysupportedtheauthors'originalintention(forinstance,CatherinebringingPippinareclinerchair,anobvioussymbolof"settlingdown"insuburbia.)It'sdifferentinthespecific,butentirelyconsistentwithwhatthematerialistryingtosay.Ineverobjecttocreativechanges(indeedIwelcomethem)whentheyareanattempttorealizetheauthors'goals,asopposedtotryingtorewritetheshow.Thanksagainforgettingintouchandcongratulationsonyourclevernessandthesuccessofyourproduction.Sincerely,StephenSchwartzPIPPIN:Permissiontomakeachange?Question:Myrequestistohavepermissiontoaddtheverse,"Somanymenseemdestined,tosettleforsomethingsmall..."beforethechorus"Riversbelong..."inthenewversionoftheFinale.ItismybeliefthatthiswouldmorecloselytiePippin'sendingtoTheo'sbeginningbyhavingTheoverydirectly

commentonthefinalfateofPippin'sjourney.Ialsofeelthatthiswillexpressthearroganceofyouth,inthefactthatTheohasjustseenexactlywhathappenedfromfollowingsuchthinking,andyetforwhateverreasonseemsassuredthathisendingwillbedifferent.AnswerfromStephenSchwartz:Thanksforyourquestion.HavingjustseentheexcellentproductioncurrentlyplayingattheTaper,Icanconfidentlyanswerthatitisn'tnecessarytoaddthatverseforTheo;theminutehestarts"Riversbelongwheretheycanramble",wegetit.Ialsothinkthatitistoolateintheshowtoaddaverse,butthat'sreallysecondarytothefactthattheaudiencegetsitwithouttheverse.Iappreciateyouraskingandhopeyourproductionturnsoutsmashingly.Sincerely,StephenSchwartzNewEndingOptionsQuestion:IrecentlyacquiredtherightsforPippinanditwouldseemthatthereiscurrentlynooptiononwhichendingyoucanuse.YoumustusetheendingwithTheo'sCornerandusetheintermission.IamextremelyupsetthattheoptionhasbeenremovedsinceIwouldprefertousetheoriginalendingsinceIlikethemessageitportrays.Itevenmissesthe"trapped,buthappy"(etc)line.IwishMTIwouldissuebothoptions,butapparentlytheynolongerlicensebothversions?Seemskindofweirdtome.Doesanybodylicensetheoriginalending/oneactversion?AnswerfromStephenSchwartz:Youdon'thavetousetheintermission,thoughIstronglyrecommendit,especiallygiventheattentionspanoftoday'saudiences.Sorry,however,Ihavenointerestinlicensingaproductionwiththeoldending.Ihavetosaymyfeelingisprettymuchifsomeonedoesn'twanttodothenewending,theyshouldn'tproducetheshow.Sincerely,StephenSchwartzPIPPINNewEnding/IntermissionCommentspostedbyMichaelCole:Hereisalltheinformationyoushouldneedtoincludethenewendingandanintermissioninyourproduction.Nospecialpermissionisnecessarytoincorporatetheseintoyourproduction:ThisnewendingrequiresTheotobeoldenoughtobebeginningtomakehisownchoices.IrecommendthatTheobeplayedbyaboyofaboutfifteenandthatheparticipateasamemberofthe"troupe"intherestoftheshow.TheLeadingPlayer'sdescriptionofhim,therefore,asa"smalllovableboy"becomesironic.ButhecanstillplayhisaffectionforhisduckandgrowingaffectionforPippinaswritten.TheshowproceedsaswrittentothepointwherePippin,Catherine,andTheoarestandingaloneintheworklight,havingbeenstrippedoftheircostumesandallthesceneryandfancylighting.Thetroupehasexitedandtheorchestrahasstoppedplaying.Asinthecurrentversion,Pippinsings,acappella:"Iwantedmagicshowsandmiracles/miragestotouch/Iwantedsuchalittlethingfromlife/Iwantedsomuch..."Butthereisnofurtherdialogue.Insteadhesings:"Inevercameclose,mylove/wenearlycamenear/itneverwasthere/Ithinkitwashere."HekissesCatherine,andhandinhandtheystarttowalkoffthestage,notnoticingthatTheohasremainedbehindcenterstage.Verysoftlyatfirst,andthenwithgrowingconfidence,Theobeginstosingacappela:"Riversbelongwheretheycanramble/eaglesbelongwheretheycanfly..."PippinandCatherineturnandlookatTheowithsurprise,asTheocontinues:"I'vegottobe/wheremyspiritcanrunfree..."Andfromthecornersofthestage,theLeadingPlayerandthetroupebegintocreepon,allfocussingatTheo.Itiscleartheysensetheirnextvictim.Theofinishes:"Gottafindmycornerofthesky"asthelightbeginstogrowbrighteronhim.TheLeadingPlayerholds

outhishandtoTheoasthetroupesingsthe"Ooohoohoohooh's"thatstarttheshow,theorchestracomesbackin,andthelightsgrowbrighterandbrighterandthensuddenlyblackout.Andthat'sit.Ihopethisdescriptionisclear.Ithinkyoucanseehowchillingitcanbeandhowwellitroundsofftheshowbybringingitfullcircle.Itrequiresalittlebitofworkfromyourmusicaldirectortoworkoutthewaytheorchestracomesinandhowtoendtheshowmusically,butit'sprettyself‐explanatoryandonlyafewbarslong.PIPPIN‐‐EndofActOne(AfterCHARLEScomesbacktolifeandgivesPIPPINbacktheknife...)CHARLESOh,that'sallright,son.Butdon'tletithappenagain.PIPPIN(ToLEADINGPLAYER)Well,dammit!NothingturnsoutthewayIthoughtitwould.I'mgettingold..veryold.AndIstillhaven'tdoneanythingwithmylife.LEADINGPLAYERWellthen,maybeit'stime.PIPPINTime?LEADINGPLAYERFortheFinale.Ipromisedyouanextraordinarylifeandanextraordinaryclimax,remember?Aclimaxneverbeforeseenonapublicstage.(Hesnapshisfingersandthemusicfor"ThinkAboutYourLife"begins.TheCASTstarttosing"Aahs"tothemusicasthePLAYERWITHTORCHappears.)PIPPINWhat'sgoingon?Whatisthis?ALLTHINKABOUTYOURLIFE,PIPPIN...PIPPINYes,that'swhatIneedtodo.Ineedtothink...Ineedtobealoneforawhile.(Hestartsoff.)LEADINGPLAYER(Grabshim)No..Whereareyougoing,Pippin?TheFinale...

PIPPIN(Pullingaway)Ihavetohavetimetothink!(Herunsoff.)(Thecastlooksafterhim,bewildered.TheLEADINGPLAYERismomentarilynonplussed.)PLAYERWITHTORCH(ToLEADINGPLAYER)Now?LEADINGPLAYER(Snapsathim.)Ofcoursenotnow,youidiot!(Recovershimself,turnstotheaudience,smiles)It'sallright,we'rejustgoingtoneedalittlemoretimethat'sall.(ToCATHERINE)You‐‐Catherine.You'dbettergetready.We'regoingtobeneedingyou.(Heturnsbacktoaudience,morerelaxednow.Abigsmile.)Don'tworry.Wewon'tdisappointyou.Weneverdisappoint.You'llhavetheclimaxwepromisedyou.ALLBUTLEADINGPLAYERWE'VEGOTMAGICTODOJUSTFORYOUWE'VEGOTMIRACLEPLAYSTOPLAY...LEADINGPLAYER(Toaudience)Trustme!ALLASWEGOALONGOURWAY!ENDACTONEPIPPIN‐‐OpeningofACTII(PIPPINisdiscoveredaloneonstage,pacingandsingingagitatedlytohimself)PIPPIN(acapella,verydetermined)

RIVERSBELONGWHERETHEYCANRAMBLEEAGLESBELONGWHERETHEYCANFLYI'VEGOTTOBE...SPIRITCANRUNFREE...GOTTAFINDMYCORNER...GOTTAFIND...GOTTAFINDMYCORNER...(TheLEADINGPLAYERrunson.WhenheseesPIPPINhestops,watchesforamoment.Then,elaboratelycalm,hecallstoPIPPIN.)LEADINGPLAYERThereyouare.Anythingyouneed?Whateveryoulike...PIPPINI'dlikealittlepeaceandquiet,ifyoudon'tmind.LEADINGPLAYERLook,Pippin.Youmaynotbelievethis,butthingsaregoingaccordingtoplan.PIPPINTheyare?LEADINGPLAYEROfcoursetheyare.Takeiteasy...(sings:)YOULOOKFRENZIED,YOULOOKFRAZZLED...(Etc.)PIPPIN‐‐EndofActIILEADINGPLAYERYoutrysingingwithoutmusic,sweetheart!(TheLEADINGPLAYERgoes.Thestageisdarkexceptfortheworklight.PIPPIN,CATHERINEandTHEOarealoneonstage.PIPPINsingsacappela)PIPPINIWANTEDMAGICSHOWSANDMIRACLESMIRAGESTOTOUCHIWANTEDSUCHALITTLETHINGFROMLIFEIWANTEDSOMUCHINEVERCAMECLOSE,MYLOVE

INEVERCAMENEARITNEVERWASTHEREITALWAYSWASHERE...(Hekissesherand,handinhand,theybegintoleavethestage.THEOremainsbehind,standingcenterstage.Verysoftlyatfirst,hebeginstosing,acapella)THEORIVERSBELONGWHERETHEYCANRAMBLEEAGLESBELONGWHERETHEYCANFLY...(PIPPINANDCATHERINEturntolookatTHEO,whobeginstosingmorestronglynow)THEOI'VEGOTTOBEWHEREMYSPIRITCANRUNFREE...(Andsuddenly,onthefringesofthestage,thePLAYERSbegintocreepinagain,allfocussingonTHEO,smilingathim,reachingouttohim.AlightstartstogetbrighteronTHEOastheorchestrabeginstoaccompanyhim)THEOGOTTAFINDMYCORNEROFTHESKY...(TheLEADINGPLAYERcomesabitmoreonstageandreachesouthishandtoTHEO.THEOturnstolookattheLEADINGPLAYERasPIPPINandCATHERINElookonhelplessly.ThePLAYERSbegintheopeningseductivechordsof"MagictoDo")PLAYERSOOHOOHOOHOOHOHHOOHOOHOOH...(ThelightonTHEOgetsbrighterandbrighterastheorchestraswells...)BLACKOUT