Set in 780 A.D. in the Holy Roman Empire (and thereabouts), Pippin is a play within a play that unfolds like a magic trick. Narrated by a mysterious Leading Player (played by Lily Beal ’27) and an entertaining, circus-like Band of Players, the play is seen through the eyes of Pippin (played by Willem Kraaijeveld ’27) and explores the meaning of war, power, family, and love. 

On stage, the moving parts were seamless — as the Upper School and Middle School cast members made it all look so easy. Yet, behind the scenes, it was an enormous production to put on. Terrence Christgau (Head of Upper School Theater Productions, Production Designer, and Director) said, “The book is inconsistent and asks the audience to stretch reality pretty far.” So, too, were the students asked to stretch what was possible for their performances, with expert guidance from the adult directors through this huge production. In addition to Mr. Christgau’s support, students received dance instruction from Colleen Durham (Choreographer, Director, and Costume Designer) and musical direction from Stephen Coakley (Musical Director and Piano Accompanist). 

Mr. Christgau helped students approach the intense acting required in the show by teaching them what the story was all about — not just what was being presented on the surface. These explanations were especially important for actors like Willem, who had to ground the story’s abstract elements in a believable emotional arc. 

Willem focused on portraying a character on a journey, searching for fulfillment. Although he knew the story’s daunting ending, he worked on setting that aside during performances so his acting would feel authentic. With support from Mr. Christgau, he thought of how to stay fully present in each moment. Willem said, “I allowed myself to feel the emotion of the character, which sounds a bit corny until you realize your job on that stage is to do exactly that.” 

Unlike Willem, the 13 ensemble members, made up of a Band of Players, did not have a specific character or journey to convey, and had a lot on their minds — from memorizing each movement to maintaining their harmonies. Mr. Christgau helped Skylar Krasik ’28 create characteristics for her individual player so she could connect in a more genuine way. She said, “It was pretty helpful to make sure my character was solidified, because I wasn't unsure of how to act.” 

While Mr. Chrisgau solidified the character development, Ms. Durham (who worked previously with Mr. Christgau on Dwight Upper School’s 2011 production of Pippin) translated that into the language of movement. Since the musical is highly choreographed with lots of Fosse-inspired movement, the students had to practice long hours. Going through difficult routines, Ms. Durham provided them with ways to feel less overwhelmed by all the fast footwork. Skylar said, “She taught us good tricks for dancing… Before rehearsal started, I would ask her questions so she could help me go over some of the moves so I wasn't lost or behind.” Chris Bailey ’31, who played Theo, said, “Ms. Durham really helped me with dancing. And that was incredible.” 

The show’s musical numbers were just as rigorous and daunting as the acting and movement. Mr. Coakley was the final piece to the puzzle, bringing the music to life, and teaching the students how to embrace all of Stephen Schwartz’s pop-rock musical numbers, such as The Leading Player’s “Glory,” Fastrada’s (played by Alexandra Swartz ’27) “Spread A Little Sunshine,” and Charlemagne’s (played by Oliver Wyatt ’26) “War Is A Science.” For Oliver, “War Is A Science” pushed him to the limits of his vocal range. He said, “It's like at the last note of my mix that I can hit. So getting up there was really hard… Mr. Coakley’s amazing. We worked a lot on hitting the high notes over and over again.” 

Just as the adults encouraged the performers, so too did the performers strengthen one another in the same way, all dedicated to bringing the “magic” to life. The students recalled the collaborative environment between the cast members that shaped the rehearsal space. Lily said, “The shared energy and connection that can be found through acting, singing, and dancing when bringing a story to life is remarkable and is what makes musical theater so special to be a part of and to watch. I think you could really see and feel that in this production.” That collective dedication became a defining part of the experience, as students across the cast relied on one another.

With difficult vocals and choreography, and an intricate story, the students, under the guidance of their directors, perfected the art of overcoming challenges on stage. And while the curtain has closed (for now), the mentorship, collaboration, and professional growth built on stage and off remain.