Getting Medieval with Pippin (the Musical)

 Stephen Schwartz, the author of the Broadway musical Pippin, relates that when he was a student at Carnegie Mellon  in 1967 he read a paragraph in a history textbook about Pippin, the son of Charlemagne who revolted against his dad, and thought: "wouldn't this make a great musical?"   I am normally a harsh critic of medieval film, but  I  enjoyed a viewing of Pippin at Central High School last weekend. Perhaps this is because the first thing that came into my mind was the 1970s! The medieval was a side note to the greater message about life and modern choices, so I worried less about inaccuracies like the psychedelic dancing, the groovy clothes, and beach balls! The fantastical Leading Performer who entices Pippin to seek new experiences in a Faustian sort of contract, the dream sequences, the neon gloves, and the disturbing ending put me at ease as a medievalist. Set within the early Middle Ages, this musical reflects the spirit of the 1970s.

The musical is set in the eighth century and depicts the odd relationship between Pippin and his father Charlemagne. Charlemagne is relatively care-free in his approach to fatherhood, even after his son murders him. Neat trick: Pippin revives Charlemagne using the too common trope of medieval magic after regretting his choice. Historically,  Charlemagne exiled Pippin in 792, sentencing him to a tonsured  monk's life at the Monastery of Prüm upon the discovery of the plot.

Many characters in the musical were actual historical actors. References to Visigoths, Huns, Frisians, and Valhalla are nice medieval links.   Charlemagne's mother, Bertha, makes an appearance, encouraging Pippin to have fun.  Charlemagne is depicted as a sex-hungry king--and his past wives such as Fastrada make an appearance. Interestingly, Pippin's mother is not mentioned  which raises the historical question of whether Pippin was legitimate, or born "before legal marriage," as Paul the Deacon described. The chronicler Einhard described Pippin as "handsome in face but hunchbacked" which the musical dismisses immediately as a false story. I didn't mind that there was sexual pleasure demonstrated with a hilarious "interruption" banner  spread across the stage, as the medieval world is often wrongly depicted as incapable of experiencing pleasure.

In the musical Religion was on the back burner.  Yet when depicted there was an interior appeal to God through prayer not frequently found in movies about the Middle Ages where religion is depicted as  greedy, superstitious, or  irrational.There was even a request for a miracle to save a pet duck. Falconry and swords added to the medieval feel. A song like "War is a Science" and work in the fields promoted the secular medieval atmosphere; rarely do films depict real work beyond a blacksmith or a servant so this was a delight. However, most of the costuming heads towards the world of circus, magic, or simplicity. And eighth-century Pippin could hardly have studied at university, which had not emerged yet (the University of Padua was founded in 1222).

It is common for popular culture to mock the lack of freedom in the medieval world, forgetting parliaments, the Magna Carta, and even the election of kings. At one point, Pippin finds himself  irritated by Charlemagne's authoritarian ways; he works with peasantry to find "freedom," promote "free speech,"  and overturn his father's "autocratic" rule. Of course, this is far different from the 792 revolt mentioned in Einhard's Life of Charlemagne, when Pippin aligned with Frankish nobility to ferment revolt, likely due to disinheritance. But in the musical after Pippin becomes king himself, and has to make the same tough choices, he realizes that ruling is not as simple as he had believed. Not everyone can be "free." Although this word was frequently used to describe the liberal arts in the Middle Ages, it was less rarely used to describe personal freedom before the thirteenth century. But I found this  reflection on what it meant to be a medieval ruler interesting. Rather than the usual "freedom" ala Braveheart or Disney, the musical presents a critique of peace and easy-going beliefs. Given that this musical emerged out of the 1970s, this critique surely was intentional and says more about American politics than the Middle Ages.

Overall, I give the musical "two swords up" for getting me to think more about the meaning of life and the choices that we make. The ending left me unsettled, featuring a boy who falls into the same trap of "seeking happiness," lulled by the calls of the Siren-esque circus performers (this new ending was added in 2013).   For a historian it offers a fascinating mix of two historical periods, the Middle Ages and the 1970s.  It made me feel empathy for Pippin and all the choices we must make in life. In the end, aren't we all Pippin?  When we can feel empathy for the past, history has a winning ticket.

Images were taken from Google Images; no photos were taken of the Central High School Production.