Review: Pippin

Review – Pippin  | Phamaly Theatre Company | Kilstrom Theatre, Denver Center for the Performing Arts | Curtain Up! | Eric Fitzgerald | August 13, 2025

I generally don’t start a review with a personal recollection, but I am bending my rule while formulating this review for Phamaly Theatre Company’s current production of Pippin.

After seeing Pippin on Broadway in the summer of 1976 as part of a New York City/Broadway high school graduation gift from my parents, I played my Pippin LP (remember those?) so much that I nearly wore the grooves smooth. Stephen Schwartz, the composer of Pippin, was my hero that summer. Long before his mega-hit Wicked shimmered into existence, Schwartz’s score for Pippin dazzled with its own brand of magic—a rich, melodic tapestry that danced between whimsy and yearning.

In partnership with Denver Center for the Performing Arts (DCPA), Phamaly Theatre Company has brought to Kilstrom Theatre at DCPA a wonderfully satisfying revival of the musical, directed by local theatrical impresario Robert Michael Sanders, along with musical director Heather Iris Holt and choreographer Jessica Hindsley.

Background

Phamaly Theatre Company’s mission, “to be a creative home for theatre artists with disabilities; to model a theatrical process for people with disabilities; and to upend conventional narratives by transforming individuals, audiences, and the world,” finds a poignant echo in the existential themes of Pippin. Read more about Phamaly Theatre Company at Phamaly.org.

As the titular character searches for purpose beyond spectacle, longing for a life that feels authentically his own, Phamaly’s troupe embodies that very pursuit: challenging societal expectations, reclaiming agency, and redefining what it means to live meaningfully. In Phamaly’s hands, Pippin becomes more than a coming-of-age tale—it’s a radical celebration of difference, a rejection of performative perfection, and a profound human affirmation that the extraordinary often lies in the courage to be fully oneself.

Cast

Phamaly is gifted with Kaden Hinkle’s magnetic presence as Pippin. Hinkle, currently a rising senior BFA musical theatre candidate at Pace University, is the right combination of boyish charm and existential angst. He can be both gleeful and demoralized as he navigates the maze of life lessons and the impact on his life plan.  They hit all the right vocals throughout and display expressive physicality, especially during “On the Right Track,” sharing the stage with Leading Player.

Until a major 2013 Broadway revival of Pippin, the role of Leading Player had traditionally been performed by a man, most famously Ben Vereen in the original 1972 production. Phamaly Theatre Company follows the revival’s gender-expansive casting tradition, with Emma Maxfield leading the audience through the show’s meta-theatrical journey as a commanding and charismatic guide. Maxfield has a fabulous musical theatre presence with an alluring spotlight shining on them wherever they pop up on stage. They are a welcoming host for the evening’s festivities, albeit a little too angry at times, especially during the closing moments of the performance.

A noteworthy performance is given by Casey Myers (Lewis), returning this year after a star turn in Phamaly’s A Chorus Line. Performing from his wheelchair, Myers moves with expressive ease, a sharp sense of humor, and a twinkle in his eye—his physicality undiminished, his presence fully felt.

The audience must wait until the second act to be fully immersed by Katelyn Kendrick’s strong performance as Catherine. A Phamaly favorite, they bring a sense of joyful optimism to Pippin’s exploration of domesticity.

In the role of Berthe, Pippin’s grandmother, Shelley McMillion nearly stops the show with her rendition of “No Time at All.” The song conveys an excellent life lesson everyone should heed: live for today with a sense of spontaneity and glee. McMillion is a treat to watch and commands the stage with boundless likability.

Direction

Director Sanders populates the space with a commanding cast of twenty performers, each one contributing to a dynamic, entirely inhabited world. The sheer scale of the cast could easily overwhelm a lesser production, but here it feels purposeful and alive. The ensemble pulses with cohesion and clarity, each actor attuned not only to their own arc but to the collective heartbeat of the piece. Under the musical direction of Heather Iris Holt and the choreography of Jessica Hindsley, this production is exceedingly well served.

Theatre-in-the-round is no easy feat, as found in Kilstrom Theatre. It demands precision, spatial awareness, and a director’s sixth sense for rhythm and rotation. Too often, it either dazzles or disorients—there’s rarely a middle ground. But in this case, Sanders doesn’t just make it work; he makes it sing. Every seat in Kilstrom Theatre feels like the best seat in the house, thanks to his meticulous staging. Sightlines are crisp, transitions seamless, and the energy never dips,

Stagecraft

Scenic designer Brian Watson (also a versatile actor, in his own right) has created an abbreviated circus theme with excellent sightlines. Costume designer Madison Booth carefully outfitted each character, including Leading Player, in a somewhat metallic unitard to evoke a stylized, non-naturalistic look. Emily A. Maddox has aptly risen to the occasion as lighting designer with a highly complex set of light cues that continuously illuminate the action on stage.  

Playing through August 24, Phamaly Theatre Company’s production of Pippin is a winner. All theatrical elements come together under the masterful direction of Robert Michael Sanders and a mighty roster of talented actors.  

Eric Fitzgerald | Curtain Up! | August 13, 2025