Extra-0rdinary: Pippin at Burlington County Footlighters
by Lori Clark
I had the pleasure of attending the opening night of Pippin at Burlington County Footlighters. Watching a show as a reviewer, I experience theatre differently than I would as a regular audience member. I tend to reflect more deeply on how the performance affects me, contemplating the themes and ideas that echo in my mind as I take in each scene. Indulge me for a moment as I share what lingered with me after last night’s performance.
I love community theatre. For the past ten years, I have seen countless shows in the South Jersey region. I’ve watched people who went on to work professionally in theatre—touring companies, regional productions, even Broadway. I’ve also seen performers who have been on Broadway grace these local stages, and I've witnessed Broadway-worthy performances from people right here in our community. The increasing technical sophistication in our local theatres has been thrilling: jaw-dropping lighting, atmospheric smoke, grand projections, and crisp sound effects. Shows on tiny stages have felt as big and polished as those on major ones. We’ve even adapted through challenging times, including a brief (hopefully never repeated) era of virtual performances.
Having performed in several productions myself, I’ve gathered a community, a purpose, and a support system—a second family, really. Community theatre is my happy place, a space where a “woman of a certain age” (like me!) can find camaraderie with people of all ages, from children to seniors. It’s a place that doesn’t judge who you love, what your job is, your background, your pronouns, your age, your level of experience, or even your quirks and eccentricities. None of that is relevant in this community. What matters here is hard work, showing up on time, generosity of spirit (both onstage and off), and getting off-book in a reasonable time.
We “theatre kids” share a passion for creating art. Some of us do it to bring joy to others; I do it because it brings joy to me. Money or stipends aren’t the motivation. It’s about exploration, constant learning, and rising to the challenges of a production. And invariably, there’s that moment—usually right before I step on stage on opening night—when I think, “What have I gotten myself into? Why am I doing this? Will I embarrass myself?” Yet always, without fail, it ends with, “I wish I could do this over and over. I wish I could live on that stage.”
During Pippin, these thoughts about my theatre journey kept returning to me. Why? What was it about this show, this cast, this production that filled me with such gratitude and appreciation for my theatre community?
Pippin, with music and lyrics by Stephen Schwartz (of Wicked and Godspell fame), originally opened in 1972, winning Tony Awards for Bob Fosse’s direction and choreography. It's been a staple in musical theatre ever since, celebrated for combining Fosse's provocative style with a philosophical narrative. Director and Choreographer Brenda Bacon brought her own vision to this production, and it gave me plenty to ponder.
Upon entering the sold-out theatre, I was struck by the set’s simplicity. Designed by Jim Frazer, it had an unfinished, raw quality, almost as if we were attending a rehearsal. The live band, impressively led by music director Peg Smith, was seated on stage behind a “concrete brick” half wall. Two unfinished wooden staircases framed the stage, with wooden crates, cloth banners, and platforms scattered across the margins. The largest piece, a backdrop of cathedral windows, tied everything together. The whole setup felt reminiscent of a handmade production, the kind you might lovingly put together with friends in someone's backyard and perform for your neighbors. And I mean this as the highest compliment—there was an undeniable charm, a sense of community and care that radiated from every detail.
The show opens with our cast in darkness, with the exception of our Leading Player, Yeshua Irizarry, who is bathed in focused light, (thanks to lighting designers Heidi Kleber and Jim Frazer) as they perform the opening number “Magic to Do.” Irizarry, polished and heavily made-up, exuded the spirit of a vaudeville host or the Emcee from Cabaret, dressed in bold red and black. Costume designer Elizabeth Baldwin dressed the ensemble players in a contrasting, neutral color palette, with unfinished, eclectic costumes: corsets and frilly pantaloons for the women, and layered, mismatched attire for the men. All had glitter makeup, which was a fun and whimsical touch.
Let’s recap: a live pit, no microphones, an “unfinished” set, and quirky costuming. This is theatre unplugged—raw, real, and intimate. I was initially concerned that the actors’ voices might be difficult to hear without body mics, but to my delight, this was not the case. The unamplified voices, balanced beautifully with the on-stage pit, were a welcome change from productions with recorded tracks and mic balancing issues. This simplicity was refreshing and added to the authenticity.
The cast was filled with interesting and surprising talent. Yeshua Irizarry anchored the show as the Leading Player with fantastic presence, impressive dance moves, and strong vocals. Tim Catrino brought a sweet, unassuming charm to Pippin, capturing the character’s awkwardness and humor with natural authenticity. Al Krier was delightful as Charles, Pippin’s father, while Michael Aquilino was a scene-stealer as the half-brother, Lewis.
Jen Kaiser delivered a show-stopping performance as Fastrada, Pippin’s conniving stepmother, with dazzling vocals, acting, and dance. Phyllis Josephson as Berthe, Pippin’s grandmother, was radiant and loveable, and her number “Just No Time at All” was a highlight of the evening.
The ensemble—Cat Baldwin, Moe Copeland, Elizabeth Deal, Anny Egan, Jamie Lynne Hill, Jarod Iafolla, Jesse V. Panico, Jamie Sheffer, and Jules Smith—brought fun and energy to the production. Their performances, choreographed with playfulness and precision, effectively engaged the audience and made it feel as though we were part of the world they created. The chemistry among the cast was palpable, creating a sense of unity and genuine connection that made every interaction feel vibrant and authentic.
The story follows Pippin’s search for purpose, exploring glory in battle, the indulgence of pleasure, and the lure of political power. His journey leads him to Catherine (played with warmth and grace by Kaitlyn Delengowski) and her son Theo (the adorable Robert Hill). With Catherine, Pippin experiences the beauty of a simple, ordinary life. Though he initially rejects this life as unremarkable, he ultimately realizes that its simplicity is where true beauty lies.
And that is where I found my connection. Just as Pippin’s quest led him to discover the beauty in the ordinary, my experience of reviewing shows is deeply tied to my own journey in theater. There’s a nervous excitement and sense of anticipation as I sit in the audience, wondering how each performance will move me. Just like that moment before I step on stage, when I question why I do this only to be overcome by joy, I find myself left in awe and longing to experience it all over again. This show was not about dazzling technology or high-budget effects but about the raw, unfiltered heart that only a passionate community can create. It was a beautiful reminder that sometimes, the most extraordinary experiences come from the simplest, most heartfelt moments—those that community theatre, with all its raw, unfiltered spirit, captures so beautifully.
Pippin runs from now till November 26. You can purchase tickets here: https://tickets.bcfootlighters.com/show/pippin
