Life’s a circus in Tony-winning musical ‘Pippin’

Everybody wants to run away and join the circus. But life can be scary up there on the high wire.

That’s not exactly a revelation when it comes to life’s rueful truths, yet it can still serve as the springboard for a nimbly entertaining musical.

The current case in point: “Pippin.”

Pitching its tent at The Smith Center through Sunday, the national tour of the Tony-winning revival takes its life’s-a-circus metaphor quite literally, transforming the title character’s journey of self-discovery into a Cirque-style show of marvels.

And on that score, this “Pippin” more than delivers as it recounts the picaresque quest of its title character (the endearingly innocent Kyle Dean Massey), son of the great king Charlemagne. (The latter’s portrayed by none other than John Rubinstein, Broadway’s original 1972 Pippin, who’s utterly delighted — and delightful — playing the very model of a medieval general, smilingly ordering his underlings to their bloody battleground doom.)

Fresh from college, Pippin’s had his fill of book learning and longs to find his “Corner of the Sky” — to cite one of “Wicked” composer Stephen Schwartz’s memorably energetic songs.

Enter the Leading Player (“The Voice’s” strutting, sassy Sasha Allen) and her fellow artistes, who present Pippin with a variety of temptations, from the physical to the political.

Pippin also gets some sage advice from his life-affirming, death-defying grandma (the beguiling Lucie Arnaz, demonstrating ace comic timing and jaw-dropping moxie whether she’s leading an audience sing-along — or flying high on the trapeze).

Another alternative comes in the form of winsome widow Catherine (the quirky, engaging Kristine Reese), who gives Pippin a taste of down-to-earth, workaday life.Yet such an ordinary existence seems a mistaken fate for someone who’s convinced he’s destined to be “Extraordinary” — especially when the Leading Player keeps slithering back into Pippin’s life, reminding him of the dizzying wonders that await.

Some of those wonders prove more wonderful than others, of course, but that’s in keeping with the show’s circus theme. Just when you’ve had enough of the acrobats, somebody sends in the clowns.

To say nothing of the jugglers, tumblers and trapeze artists who strut, twirl and whirl beneath scenic designer Scott Pask’s star-dappled big top.

As “Pippin’s” opening number promises, they’ve got magic to do.

And, like many illusions, this show’s tricks sometimes prove distracting as well as diverting.

Indeed, there’s so much eye-popping business going on so much of the time that characters and conflicts occasionally get lost in the shuffle.

Then again, the characters and conflicts Roger O. Hirson’s book presents seem so basic (archetypal if you’re being kind, stereotypical if you’re not) that “Pippin” can use all the razzle-dazzle director Diane Paulus drums up.

Paulus (who also directed the Tony-winning “Porgy and Bess” revival that played The Smith Center in April) works “Pippin’s” over-the-top, under-the-big-top trappings for all they’re worth.

Which is quite a bit, thanks to the ingenious contributions of creator Gypsy Snider (co-founder of Montreal’s 7 Fingers troupe) and “Pippin’s” inexhaustible chorus members, who shift from circus prancers to Broadway dancers — and back — with the greatest of ease.

Speaking of dancing, “Pippin’s” program follows choreographer Chet Walker’s name with the phrase “in the style of Bob Fosse,” citing the legendary director-choreographer who was “Pippin’s” original visionary.

Walker’s dances may be in the Fosse style, but they’re not quite Fosse, coming up a bit short when it comes to the master’s sharp, ice-pick precision.

Think of a copy of a copy of a photocopy.

It may not be the original, but you still get the picture. And, in this “Pippin’s” case, it’s a picture well worth seeing.