Pippin/WMG

(I'm using the 1981 film version as the basis for this, but the point usually "gets across" in all productions once you see it) Pippin dies halfway through the first act.

The Leading Player (for all intents and purposes, our "Satan") introduces Pippin, saying this is the first time he's playing this role, which foreshadows later events. His first lines point out that a finale is planned "never before seen on a public stage {{[spoiler|live suicide}}]". Pippin reveals his motives ("Corner of the Sky") and they all applaud Pippin for his aspirations. He tries various different paths, but nothing seems to stick. According to him, if you're an artist, "you have to be dead to find out if you're any good." More foreshadowing. The Leading Player disappears at this point, biding his time until he's needed.

We're introduced to Pippin's family, his father a drunk, neglectful king, his brother a strong and stupid soldier. Pippin decides to become a soldier, and after some coaxing, Charles agrees to let him join the fight against the Visigoths. Charles explains the battle plan, all the while dropping subtle hints ("War is a Science") of the gravity and carelessness of Pippin's "kill at will" mindset. "War is a science, with rules to be applied." He's not getting it.

The battle begins, which is the Leading Player's cue to re-enter. Thus begins "Glory", possibly the most symbolic portion of the show, and the Leading Player sets the scene by an Ironic Echo of the opening number. ("Battles... barbarous, and bloody.") At this point, MOST of the lyrics of the song are foreshadowing Pippin's death in battle. At one point, ALL the soldiers (all of which are controlled entirely by the Leading Player) are dropping STRONG hints to Pippin that he's going to die, in a halfhearted effort by the Leading Player to give him another chance. They make it PRETTY clear that Charles and his campaign will lead to Pippin's death, but Pippin (and presumably the audience) is too entertained by all the murder to care.("The gates of heaven await, THROWN WIDE BY Charles the Great, WE FOLLOW HIM THROUGH by serving his state.") This was Pippin's last chance. The Leading Player, sealing Pippin's fate, begins listing the death counts of various wars. The "Manson Trio" bit begins; the Leading Player's obviously very pleased with himself. This is the point in the play in which Pippin is killed in battle (to my knowledge, he's never been shown dying onstage). The scene in which Pippin talks to the dead body/severed head is meant as the tip off that Pippin has in fact died. The music slows to a crawl, as Pippin's life drains away. The Leading Player sings him out with a flowy melody as body parts fly by in the background ("War... is strict as Jesus... war... is finer than spring"). He suddenly stands up with deliberation and begins to walk out. But it's a fakeout; he does a quick turn and declares, "Daw, you ain't seen NOTHIN' yet folks!", implying he's not through with Pippin by a long shot. All the players come back in twice as much grandeur as before Pippin's death, hammering home the idea of what this sacrifice was for. "GLORY, GLORY, GLORY, GLORY." From this point on, the story follows Pippin through limbo (which explains the Leading Player's near-constant presence after this point, he's keeping him there by choice). Pippin, obviously unaware that he's died, wanders away from the war, and instead opting to flee to the countryside ("Simple Joys"). He eventually stumbles upon his grandmother's home; he hasn't seen her in years. (She's dead too.) She learns that Pippin's gone to war, and remarks "no wonder you look so terrible." He asks her for advice on where to go from there, and she tells him to not plan too much, or think too much, and to take things as they come. ("No Time At All") Throughout the song, Berthe laments being trapped in limbo ("When you are as old as I, my dear, and I hope that you never are...") and drops a warning to Pippin to live it up while he still can; she knows the Finale's coming soon. ("Time to take time, cause spring will turn to fall, in just no time at all") It gradually becomes less about encouraging Pippin, and more about pondering her condition ("Maybe it's meant the hours I've spent, feeling broken and bent and unwell"); she eventually drops a line that appears to be a direct plea to the Leading Player ("Now, I've known the fears of sixty-six years, I've had troubles and tears by the score, but the only thing I'd trade them for is sixty-seven more.") It should be noted that this is the first time Pippin encounters someone throughout the story that shows signs of not being controlled entirely by the Leading Player. Pippin still ignores the warning, but takes the advice, and goes off to get a taste of "heaven" with some women. ("With You") Pippin spouts sweet nothings at every girl he sees, showing off one of his character flaws. The Leading Player allows him to have his "fun", knowing full well he'll get sick of it soon enough. He learns his lesson, that relationships without love leave you "empty and unfulfilled." At this point, the Leading Player begins to interface directly with Pippin, telling him that he should fight "tyranny" (Charles), and convincing him to plan a revolution. Fastrada is understandably pleased, and manages to convince Pippin to murder his own father. ("Spread a Little Sunshine") Now, up to this point, we all have assumed Fastrada is a villainous character because of the way she's been portrayed, but upon hearing the song, she seems to have her morals completely in order, and in fact is trying to save Pippin. ("God's wisdom teaches me when I help others, I'm really helping myself")