Put me in the love it category.

However, I've never been involved in a production - and only
saw it once - the original Broadway cast. I loved it.

As I recall, it was h*e*a*v*y on tech requirements (everything
from lots of sets to fire and magic) - and, there was a pretty juicy
lesbian ballet that could give some theaters some trouble LOL.

I am on the Love side as well. the fire and magic do make it a little bit trickey but isn't that what makes it fun?

This is one of my absolute favorite musicals.  I directed it quite a few years ago and was a wonderful production, BUT....technically a nightmare.  We had what has become known as "the Friday night from Hell" (appropros of one of the themes of the show).  In fact, we now refer to the production as "The P Show" (sort of like "the Scottish Show") and make a cross with our fingers anytime it's mentioned..  On said Friday night, our turntable turned at the wrong time during the Leading Player's opening speech, exposing Theo and Pippin waiting on the other side, then turned back to the Leading Player so she could finish her speech.  We had a costume that caught on fire from the flashpots (luckily it was fireproofed), other flashpots that didn't go off, scenery that was supposed to fly in that never left its roost, and on and on. BUT...on the nights that everything worked, it was glorious! The uncle of one of the girls in the cast happened to have been the cinematographer on "The Deer Hunter" and when he saw it he described is as very cinematic and he loved it!  Go for it, but plan your tech way ahead!

I saw Pippin on Broadway with the original cast except for Irene Ryan (Granny Clampit).  I think she passed away about six months into the run?  Anyway, Stephen Schwartz e-mailed us with the new ending to the show in June of 2000.  We talked about producing Pippin for years and finally did June, 2007.  Our director/choreographer was a guy that grew up in our town.  He lives in L.A. now and danced on Broadway in several shows and he was very "Bob Fosse-esque" in his movements.  He took the show in a whole different direction and set it in a 1930's carnival idea with a group of roving "carnies" that played the characters in the show.  We had the worlds tallest man 8'6" (walking on painters stilts - hands free) and his wife was 4'10".  We had tatoo lady (tatoos all over a flesh tone body suit), snake man (with a real live 9' snake), monkey boy, albino lady, bearded lady, etc.  It was patterned after the HBO show "Carnivalle".  We had a local magician help us with special effects.  We had the theatre decorated with huge painted banners of some of the various characters (like you'd see in old carnivals on TV or movies).  It was one of the coolest shows I've seen.  It was a huge committment (like most big shows) but the final product was edgy, colorful, vibrant, just an incredible show.

I designed PIPPIN many years ago and we had an incredibly simple set, with the exception of putting in a row of up lighting (actually imbedded in the stage - don't recommend doing this EVER) for the opening scene. You can do it on a shoestring - we used six 4x8's, four stair units and a rehearsal bed. Plus lots of flies, but even that could be worked around. Our houses for the show were very good, sold out for the last week performances.

However, what you do need is a strong choreographer and at least a handful of experienced dancers (not to mention some strong singers) to make it work.

Charlie

I loved this show and it never got old.