Razzle-Dazzle ‘Pippin’ Keeps It Pretty Simple

“Pippin,” the hippy vaudeville from 1972, is back. Without irony.

Now through Sunday at the Thousand Oaks Civic Arts Plaza, the musical is a touring production packaged by the ubiquitous Theater League. Without the frame of the Vietnam War and the Flower People, “Pippin” today is a period oddity with a couple of good songs. Stephen Schwartz (music and lyrics) wrote the show in college. For its Broadway run, Bob Fosse outfitted the ragtag story (the terrible book is by Roger O. Hirson) with slinky movement and sophisticated, hard-edged direction (replicated here by Gwen Hillier and Glenn Casale, respectively).

Even with the Fosse touch still intact, “Pippin” is “Candide” without the wit or feeling. It tells the story of King Charlemagne and his son Pippin (nee Pepin), here a stand-in for a generic searching youth, circa 1972. Pippin goes from school to war to activism to promiscuity, all the while repeating his one, lonely thought. “What I’m looking for can’t be found in books.” “I feel empty and vacant.” “I wish my life would mean something.” And on and on.

Pippin is played by Eric Kunze, a handsome actor and fine tenor who is either going to be a sought-after musical leading man or else is the young Donny Osmond. It’s hard to tell because his material’s so slight. When he sings “Corner of the Sky” simply, he sounds great. But when he spreads out his arms, lunges downstage and shakes his locks from side to side, one fears the worst for this talented performer.

The show, which features a commedia dell’arte ensemble dressed in burlesque armor and vaguely medieval costumes (by Thomas Marquez), has enough of the Fosse razzle-dazzle to showcase a good performer. As the Leading Player, a devilish MC and the role that made a star of Ben Vereen, Todd Hunter moves well in the requisite black vest and slacks, spats and straw hat. His voice is silky but lacks a needed extra push of charisma. As Pippin’s lady love, Catherine, Tammy Amerson is graceful with a pleasing, strong voice. Performing one number as Pippin’s grandmother Berthe, Estelle Harris sings exactly as you’d expect George Costanza’s mother to sing.

If Shakespeare’s Gertrude were a showgirl, she would be Ruth Gottschall, who plays Pippin’s scheming stepmother Fastrada. Will MacMillan is credible as the King, even with the worst dialogue. One of his lines was said to sum up Fosse’s attitude toward life at the time: “The fornicating I’m getting isn’t worth the fornicating I’m getting.” As Catherine’s little boy, child actor Jillian van Niel admirably reins in the cuteness.

“Pippin’s” initial success--it ran for more than four years--has widely been attributed to Broadway’s first TV commercial, directed by Fosse. It featured the opening number in which the ensemble slinks about, singing, “We’ve got magic to do.” The number promises more than the show can deliver. “Pippin” is a simple, simplistic thing, a vague story about a vague yearning, with a tacked-on ending about fulfillment. “Come and waste an hour or two,” call out the chorus members in that first number. That’s a fair description of the experience.

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* “Pippin,” Probst Center, Thousand Oaks Civic Arts Plaza, 2100 E. Thousand Oaks Blvd., tonight-Saturday, 8 p.m., Sunday, 7 p.m.; Saturday-Sunday matinees, 2 p.m. Ends Sunday. $29.50-$38.50. (805) 583-8700, (213) 480-3232. Running time: 2 hours, 30 minutes.

Todd Hunter: Leading Player

Eric Kunze: Pippin

Ruth Gottschall: Fastrada

Estelle Harris: Berthe

Will MacMillan: Charles

Gregg Engle: Lewis

Marjorie Mann: Soldier

Marvin Thornton: The Head

Phineas Newborn: Beggar, Baron

Bill Ledesma: Peasant

Tracy Powell: Noble

Michael Guarnera: Field Marshall

Tammy Amerson: Catherine

Jillian Van Niel: Theo

A Theatre League Production. Music and lyrics by Stephen Schwartz. Book by Roger O. Hirson. Directed by Glenn Casale. Choreographed by Gwen Hillier, based on Bob Fosse’s original choreography. Sets Arthur Smith. Lights Kim Killingsworth. Sound Mark Cowburn. Costumes Thomas G. Marquez. Musical director Lloyd Cooper. Production stage manager B.J. Allen.