Main Stage returned to Eureka’s Arkley Center to kick off the holidays with its limited, one weekend run of the charming, family friendly musical, “Pippi Longstocking,” performed Nov. 26 to 28 with matinees and evening performances.
Based on the famous children’s novel about a feisty, young, free-spirited, pigtailed heroine by award-winning, Swedish author, Astrid Lindgren, it was first adapted for the stage in 1982-83 (for a children’s theater company production in Minneapolis, Minnesota) by Thomas W. Olsen from a translation of Lindgren’s book by Olsen and Truda Stockenstrom.
The original, musical score was composed and orchestrated by Roberta Carlson, who also created the lyrics with Olsen. And the resulting, character-driven songs (some saucy and comedic, others poignant and whimsical) added immensely to the overall musical charms of the show.
Set in 1945, the high-spirited Pippi herself embodies every adventurous child’s dreams of having endless personal freedom and power in spite of the constraints and objections of the adult world in which they live.
In Pippi’s case, that means being able to live on her own (with her horse and pet monkey for companions) in a house called Villa Villekulla in a small village in Sweden. Now around 9 years old, she has no one to look after her but herself since her mother died when she was a baby, and her father (a sea captain, possibly pirate) has vanished at sea.
But Pippi has made the best of it, rollicking around, and inviting everyone to “play.” (She cheekily avoids attending any boring lessons at school or bothers with any other such “annoying” and useless interruptions to her joyfully lived life of unfettered fun. And, she’s been endowed with unexplained “supernatural strength,” as well an untold amount of wealth (such as a pot of glittering gold coins) that “could have” been acquired and left behind by her absent pirate father before he vanished.
When her “treasure” is spotted by some unscrupulous (luckily clumsy and totally inept) wannabe robbers after she takes it to a local fair to pay for some fun, this leads to some show-stealing moments of madcap mayhem by all concerned. That’s also where Pippi shows off her strength by bettering the fair’s strongman in a contest with surprising ease.
And, by the way, Pippi was accompanied there by a pair of curious children named Tommy and Anika who live next door to her villa, came to visit and want to be her friends. They’ve also invited her to go to school with them (much to the chagrin of the strict schoolmaster when she does), and later to a social sit-down with several of the village’s most dignified ladies. (As you can well imagine, chaos ensues.)
But Pippi — with her outrageous, strange clothes and charismatic energy — cavorts about, flaunting her stubborn independence, especially when the annoyingly shrill and pushy Mrs. Prysselius tries to take Pippi away from her perfectly happy, without adult-supervision house to live in the town’s children’s home.
Needless to say, there’s lots of over-the-top physical comedy that fills the stage with the antics of bumbling policemen and the “sudden and unexpected arrival in the second act” of Pippi’s formerly, long-lost, sea-faring father, Capt. Longstocking himself.
Of course, the little girl is thrilled to have him back again (and his return also means that she’s no longer considered an “abandoned orphan” who must be placed in the children’s home, or, worse still, be “adopted” and stay with shrill Mrs. Prysselius. However, when it’s “time to leave her village home” and instead go to sea with her departing (again) father, Pippi realizes that (in spite of having to give up some of her independent ways of living), she’d rather stay on shore with her newly found friends and neighbors.
Along with her horse and Mr. Neilsen, her monkey, she now has a family she’s created with others, who accept her as she is: irresistible, one-of-a-kind, warmhearted and uniquely herself: the outrageous and lovable Pippi Longstocking!
So, there you have the enchanting storyline of the production that Main Stage presented in the Arkley — and the show had a well-cast ensemble of veteran actors intermingled with the talented youngsters. In particular, the title role of Pippi was exceptionally well done on opening night by promising actress/singer/dancer Madisyn Wood — a role that was double cast and alternated during the run by Ruby Sipma. And other, young standouts (also double cast in important supporting roles as Pippi’s next-door friends, Anika and Tommy) were alternately shared by Sabine John and Gemma Caruso; Siri Caruso and Ruby Smith.
Entertainingly completing the large ensemble in both leading and featured supporting roles were Zack Rouse as Strongman and Capt. Longstocking; Jason Chand as Teacher and Policeman Klang; Emilia Bjork-Perkins as the ear-splitting Mrs. Prysselius; Reagan Geach as the over-the-top Lassen and Bloom:and Jessie Amis (or Pearl Samulski) as Pippi’s Monkey, Mr. Neilsen.
Also featured were Mackenzie Urch as the boisterous Thunder and Mrs. Granberg; Monica Blacklock as Mrs. Settergren; Ruby Smith or Siri Caruso as Nicole; Tabitha Becker as “Pippi Double,” and Kaitlyn Amis or Everleigh Crocker as Pippi’s Horse. Schoolchildren/Villagers were also portrayed by Jessie Amis, Pearl Samulski, Nya Bull Reynolds, Ellie McGinty, Everleigh Crocker, Tabitha Becker and Kaitlyn Amis.
Musically, the cast was smoothly accompanied, live by accomplished pianist Ryan McGaughey, although most of the pleasant score was provided by an excellent pre-recorded version of the score with more instruments involved in the orchestration.
Songs (sung by either solo cast members or together as an ensemble) included the “Opening Number” with the Teacher and his young students; “You Never Know Where You Might Be” (first a solo by Pippi; then Pippi joined by Annika, Tommy and Company; “Fair Sequence” by the Company; and the hauntingly beautiful “Mama and Papa/Dream Sequence” sung and danced by Pippi and Company.
After a 15-minute intermission and Act 2 began, as the plot progressed, more musical numbers were performed: “Pluttificatin” by Pippi, Teacher, and Youth Ensemble; “Mrs. Prysselius’s Song” by the character herself; “Who Can Sail” by the Company; and the reprise of “You Never Know Where You Might Be” — a rousing,finale sung by everyone.
Although the Arkley’s amplified sound to “enhance” both spoken dialogue and the voices of the singers throughout the performance was still unfortunately uneven — as it always seems to be, no matter what productions are staged there — there were (thankfully) not quite as many ups and downs.
However, everyone (no matter how old or young) who appears on that stage needs to be aware that they must always project and articulate when delivering their lines or they will not be clearly heard and understood. On the other hand, overly projecting-shrilly can literally “bounce off of the walls” of the venue and overpower the ears of the audience. So, beware.
In any case, sound warts and all, I was entertained and enjoyed the Main Stage production of “Pippi Longstocking” — and I’m sure that it got stronger during the remaining performances of the show that followed the one I saw on opening night.
“Pippi” was directed and choreographed by Daphne Endert; youth musical director was Fiona Ryder; original scenic design and construction was by Matthew John; scenery from Lace and Boots Rentals. Technical director, lighting designer, and light board operator was Chris Parreira; sound board operator, Russ Cole; rail operator, Paul Swietek; and house manager, Firefly Mizera. Youth hair and makeup coordinator (and supervisor) was Abiona Katri. Stage manager, McKenna Hardy.
There was lots of talent on that stage, and I look forward to seeing what the company delivers in its upcoming shows next year, “The Wizard of Oz” and “The Sound of Music.”
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Theater Review | Lively, live ‘Pippi Longstocking’ performed at Arkley - Eureka Times-Standard
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