Pippin (Kearsley AODS, Harper Green School, Farnworth).

Runs until Saturday THIS musical by Stephen Schwartz, the author of Godspell, is very American in concept.

The New York production ran for 1,994 performances and won five Tony Awards; the 1973 London version folded after 85, despite having such stars as Patricia Hodge, Paul Jones and Elizabeth Welch.

Given that the show lacked appeal to a London audience, Kearsley were brave and ambitious to stage the Greater Manchester Premiere.

At last night's opening they tried hard to convince the audience that a musical about Pippin (the son of Emperor Charlemagne) set in the Holy Roman Empire, could work.

By the end, some people might have agreed, but I doubt that many societies will have the nerve to try it.

Kearsley last night suffered a little from first-night nerves and some recalcitrant props, but there was an outstanding performance from Moya Welding, who brought just the right blend of sweet and sour to the role of Fastrada.

As the Leading Player, in other words the narrator, George Kearton did not have as many good lines as his counterparts in such musicals as Cabaret and A Funny Thing Happened on the Way to the Forum, but he made the most of the role.

Ian Boardman's Pippin was an unusual but often successful interpretation of a demanding role.

Stan Porter was a suitably debauched Charlemagne and earned some of the shows laughs. Sue Dawson gave a touching performance as Catherine, the widow with whom Pippin finally settles, and Mark Birchall, as Theo, her son, showed a good stage presence for one so young.

Theo's pet duck was one of last night's stars, overacting outrageously when it "breathed" its last.

The musical comedy, well directed by Wendy Salvage, is packed with songs, but, unfortunately, none of them is memorable. But the orchestra, under musical director Paul Jarvis made the most of what was on offer.

And the young dancers, under choreographer Elizabeth Rainford, worked hard. DOREEN CROWTHER

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