A PRINCE IN SEARCH OF
PURPOSE AND MEANING

Revolution’s vibrant, dance-driven production
showcases impressive skill and theatrical flair

Pippin offers musical theater lovers the complete package: great characters, adventure, a stimulating book by Roger O. Hirson and cheeky, sophisticated songs by Wicked‘s Stephen Schwartz—a score that got more than one kid addicted to its still-in-print cast album and its soaring ballads and bouncy Broadway burlesque. It opened on The Great White Way in 1972 and, directed by Bob Fosse, became one of the hits of the 1970s, running a whopping 1,944 performances.

Revolution Stage Company’s production of Pippin, now extended through March 2, is a vibrant, high-energy outing that brings a rare professional level of dance mastery to the Coachella Valley. Directed and choreographed by Nathan Wilson, who also commands the stage as the Leading Player, the production is a tribute to the iconic style of Bob Fosse. It is a celebration of the magic of live performance, proving that world-class choreography has a vibrant home in the desert.

The story follows the young Prince Pippin (Bruno Satalino) on an often-messy quest for his “Corner of the Sky.” Guided by a charismatic but increasingly sinister Leading Player and his troupe, Pippin cycles through what a great life might look like—glory on the battlefield, the indulgence of the flesh, even the crown itself—but none of it sticks. It eventually becomes clear that the players aren’t just telling his story; they’re trapping him in it, pushing him toward a “Grand Finale” that trades his life for one moment of theatrical perfection.

Satalino brings a leading-man quality to Pippin, drawing on his recent experience as Tony in West Side Story and Hans in Frozen. He captures the earnest, often frustrated longing of the young prince with a vocal clarity that makes his journey through war, politics, and love feel deeply personal. Matching him beat-for-beat is Wilson, the production’s heartbeat. A magnetic, enigmatic guide, his performance is a masterclass in the Fosse aesthetic—sharp, seductive, and precise. Because he also helmed the piece, the integration between his movements as a performer and the overall vision of the show are seamless.

The production gains a spark of international flair from Billy L’Amour as Fastrada, Pippin’s conniving and incestuous stepmother. A former soloist with Le Opéra National de Paris and now a favorite local drag queen, L’Amour brings an elite level of dance technique to the stage, blending classical ballet with the wit of a seasoned cabaret performer. Her Fastrada is a delicious, calculating delight who commands the stage with every high kick. Providing the production with grounding authority is Don Kelley as the formidable, tyrannical and bloodthirsty King Charlemagne aka King Charles, creator of the Holy Roman Empire. A veteran of the local stage, Kelley is commanding and comedically sharp. The use of a digital track made me long for a live orchestra—especially during “War is a Science” when Kelly briefly fell out of sync with the track. As a performer, my empathy kicked in, but his lightning-fast recovery only proved what a total pro he is. Still, with the caliber of musical directors this company hires and the space available, a small pit would have provided a much-needed safety net and a richer sound.

As the story unfolds, Meagan Lawson’s Catherine, a widow with whom Pippin attempts romance, provides the emotional center of the second act. Lawson brings a much-needed groundedness to “Ordinary Woman,” offering a warmth that makes Pippin’s eventual choice feel earned. This domestic reality is bolstered by Ari Rand as Catherine’s son Theo. Meanwhile, the show-stopping moment of the evening belongs to Sonia Reavis as Pippin’s grandma Berthe. A beloved figure in the CV theater scene, Reavis turns “No Time at All” into an interactive celebration. Rounding out the principals is Chris Carranza; his background as a professional vocalist and a local Zumba instructor is evident in his physical commitment to Pippin’s wicked and arrogant half-brother, Lewis.

The demanding choreography—executed beautifully by an ensemble that includes Gioia Mia Cali, Zelaya Divina Sanchez, Brent Aronowitz, Imani De Leon, Anthony Nannini, and Billy Franco—is rarely seen in semi-professional theater companies in the Valley. This includes a show-stopping rendition of Bob Fosse’s original choreography for the iconic “Manson Trio” (named so because Fosse believed the Leading Player and Charles Manson are both charismatic, cult leaders). Supported by Musical Director Chuck Peery and designers Nathan Cox, Michelle Mendoza, and Kelly McGuire, this production of Pippin is a triumph of movement and spirit. Under Wilson’s guidance, cast members don’t just play their parts; they execute a demanding, stylized vision that absolutely raises the bar for musical theater in the region.

✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦

photos by Sonny Von Cleveland

Pippin
Revolution Stage Company
611 S Palm Canyon Dr. in Palm Springs
ends on March 2, 2026
2 hours 30 minutes with intermission
for tickets, visit Revolution

✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦