Pippin at Upstairs at the Gatehouse Review
Written by Bethan for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Having never seen Pippin before but coming in as a long-time Stephen Schwartz admirer (and freshly energised by the two new Wicked films), I was more than a little curious to see what this production at Upstairs at the Gatehouse would bring. What followed was a clever, playful and often surprisingly moving evening that balances spectacle with sincerity and does so with a strong sense of ensemble.
For those unfamiliar with the show, Pippin follows a young man on a quest for meaning, fulfilment and something extraordinary in life. Guided and occasionally manipulated by a troupe of players, Pippin tries on various paths (glory, passion and purpose) all while the show knowingly reminds us that we are watching a performance. It’s theatrical, self-aware and delightfully cheeky, frequently breaking the fourth wall and inviting the audience in on the joke without ever losing sight of the emotional core.
Emily Friberg leads the charge as the Leading Player, and she is perfectly matched to the role. Charming, cunning and effortlessly magnetic, she holds the room with confidence and precision, guiding both Pippin and the audience through the story’s twists and turns. Her control and charisma really shine here.
Lewis Edgar is phenomenal as Pippin himself. He brings a strong, clear voice and a genuine vulnerability to the role that makes Pippin’s search feel deeply relatable rather than self-indulgent. “Corner of the Sky” is particularly impressive; soaring, assured and emotionally grounded. One of those moments that truly lands and lingers for long after.
Mia Quimpo’s portrayal of Catherine is quietly devastating. Her performance is heartfelt and raw, capturing Catherine’s resilience and tenderness with remarkable maturity. Knowing this is her professional debut makes it all the more impressive. She delivers one of the most emotionally resonant performances of the night, grounding the show when it needs it most.
The set design makes excellent use of the space, cleverly adapting the intimate Upstairs at the Gatehouse stage to create a world that feels both playful and purposeful. Nothing feels wasted, and the staging enhances the storytelling without overwhelming it.
Special mention must go to Helena Caldas and Oliver Wood, who both deliver standout performances in their roles, repeatedly stealing scenes and injecting bursts of energy and character that elevate the production as a whole. Another highlight is Clare Brice’s take on Berthe. “No Time At All” is led phenomenally and becomes a true showstopper. Brice brings warmth, humour and wisdom in equal measure, making this moment one of the evening’s most memorable.
While there are a few moments where I felt things could perhaps be tweaked or tightened here and there, these are small notes in the context of an otherwise phenomenal show. Overall, this Pippin boasts a strong collective, thoughtful direction and performances that genuinely connect. It’s playful without being hollow, heartfelt without being heavy, and a thoroughly enjoyable reminder of Stephen Schwartz’s magic.
Plays until 11 January 2026
★★★★
