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UPDATE: This story was updated at 4:36 p.m. on Oct. 17, 2024.

The notes and lyrics of “Magic to Do” filled Arthur Storch Theatre at Syracuse Stage/Drama Theater Complex as the cast of “Pippin” performed the opening number. The actors broke the fourth wall and invited the audience to take a deep dive into the story of the infamous Frankish prince.

“The cast has been very close but above being close, they’ve worked well together,” Ella Femino, assistant director of “Pippin,” said. “Every night when they get up there and put on a show, or even during the rehearsal process, they really give it their all.”

The Tony-winning musical is currently at Syracuse Stage/Drama Theater Complex from Oct. 11 to 20 and is the first main stage production of the Syracuse University Department of Drama’s 2024-25 season. Set in the backdrop of the Frankish Kingdom, the musical tells the story of King Charlemagne’s first son and his quest to find meaning.

Pippin searches for reason in all parts of his life by joining his father’s armed forces, engaging in romantic endeavors and gaining political power. The titular character undergoes a number of trials and tribulations — constantly driven by his passion and curiosity to find meaning in life, Connor English, who plays Pippin, said.

“This character comes into the show in the beginning just so wide-eyed and searching for someone to give him all the answers,” English said. “There’s still this beauty in returning to this childlike state and allowing yourself to just take in the beauties of the world.”

English said he faced some difficulties when he first began playing Pippin. The character handles trauma much differently than English — tending to compartmentalize and move on while English does the opposite. This taught him “how trauma lives in the body” and served as motivation throughout life.

“Pippin” has a distinct aesthetic that is reminiscent of medieval times, English said. This aesthetic has traveled throughout all of its renditions. SU’s Department of Drama challenged the distinction by adding more modern elements to the show to fit the environment of the present day.

Femino said the department incorporated technology by using phones and social media to show how distractions can deter people from important things in life like family, friends and life goals. At the end of Act 1, when Pippin joins the protests against his father’s tyranny, the cast holds phones to record the protest.

Christian Calabrese | Staff Photographer

SU Department of Drama’s production of “Pippin” is a musical comedy told by two narrators voiced by Kendall Stewart and Gwendalyn Rose Díaz.

English said “Pippin” director Torya Beard aimed to establish a collaborative community before putting the show together. The cast spent the first few days of rehearsal engaging in bonding activities, which English said differed from other productions he’s been a part of.

“Developing that community really gave us the chance to feel and understand that at its core, everyone in this room is a creative, everyone in this room is an artist and everyone in this room has a valid opinion,” English said.

Every day, the cast and crew conducted “check-ins and check-outs” at the beginnings and ends of rehearsals as a way to support each other. They asked each person if they wanted to bring anything into the rehearsal space and how they were feeling. Femino said the cast’s physical and mental safety was crucial so they could perform their best.

The cast also dedicated themselves to the production outside of their rehearsal schedule, Amelia Brown, marketing intern for Syracuse Stage and SU’s Department of Drama, said. While creating content and organizing cast takeovers for the department’s Instagram page, she saw firsthand the cast’s commitment to the production in their everyday lives.

“(The takeovers) really show the extent of everyone’s involvement and dedication and makes it all the more fulfilling to see the final result,” Brown said.

The cast and crew meticulously put the show together to give the characters an “inner life,” English said. They honed in on crafting their movements and dialogue to create impulse and drive within their respective characters.

Between this and trying to incorporate new ideas into the script, the production process proved to be no easy feat for the cast, English said. Through engaging with plenty of table work, they constantly threw ideas back and forth about how to best formulate their characters in the show.

“This cast and crew is the most eclectic combination of comedic professional people I’ve maybe ever met,” English said. “Everyone was always concerned about getting things done.”

Published on October 17, 2024 at 12:06 am