As the SHS drama department prepares Pippin, the winter musical, the technical theater and ensemble group have worked to present a unique show with complex new additions.
The recent Broadway rendition of Bob Fosse’s classic features a combination of circus skills and musical theater, creating an extraordinary atmosphere.
Andrea Burkholder, aerial artist and choreographer, has worked with selected ensemble members to teach them the art of aerial silks.
“They’re able to actually represent what Broadway is doing,” Burkholder said. “So it’s going to bring to the show a professional level performance where we sing, dance, [and] use props, as well as the aerial element of the circus.”
Rehearsing for three hours around three times a week, skills progress quickly, as new elements are built upon each rehearsal. Warm-ups consist of an exercise called “hollow body,” a core and shoulder engaging movement to prevent potential injury, followed by skill practice and development.
“It’s more conditioning and vocabulary that helps you get stronger in aerial work,” Burkholder said. “Kind of the basic things are the building blocks, and then the next day [we build off of those] building blocks again and incorporate them into dances.”
Developing skills consist of an air-stability component called footlock, and climbing, as well as more intricate moves like flips and walkovers.
“The first rehearsal, I was a little nervous, honestly; I felt a little discouraged but Andrea has been very helpful with keeping our spirits up,” said Daphne Shearburn, senior and aerial captain. “We have been moving incredibly fast, which was a little stressful at first, but now I am realizing the amount of skills [we have all developed].”
To Burkholder, learning aerial silks boosts both physical and mental strength.
“A lot of people, especially women, often feel like their bodies are weak, and what you realize is when you can organize your body, you can do almost anything,” Burkholder said. “I think for all the members, it’s just really helping them feel how strong they are and can be.”
Shearburn believes that the incorporation of a Broadway feel will heighten the majesty of the production.
“I think it will increase the spectacle and it will elevate all aspects of the show…it has been an experience unlike anything I’ve ever done,” Shearburn said.
The set has many new features as well as the addition of aerial silks, which is unique to the show.
“We want a space that is intentional, but that doesn’t necessarily feel permanent or polished…pieces will be left unfaced, giving a more skeletal feel to the structure,” said Brad Brist, Technical Theater Director. “We are also figuring out how [aerial silks] need to be handled, where they hang from, and how they incorporate into the set.”
With the return of elements like construction scaffolding, first seen in SHS’s 2019 Rent, as well as interactive performances by actors similar to 2020’s Urinetown, Pippin brings both new and old content to the audience.
Progress on building the set will begin after winter break when the winter concert season concludes. The build crew, run crew, deck crew, prop crew, fly crew, and light and sound crew all hold important roles behind the scenes of Shorewood productions.
“It is a lot of work but it is a lot of fun…as Stage Manager, I really have to know what the set is going to look like and know the musical from the inside out,” said Lucy Benavides, senior and Stage Manager.
Benavides, among other tech and show members, is excited to present Pippin and its extravagances.
“I think the show is really fun and it definitely is a good balance of story and performance,” Benavides said. “It is captivating to watch it form, and set-wise it is ambitious and has the ability to actually work while not being too overwhelming.”
Benavides, Shearburn and Burkholder all agree that everyone involved has put in extensive effort, and they believe it will pay off.
“Everyone is very committed, and now we are excited to see it all come together,” Shearburn said.