Looking Ahead to the 2016 Tony Awards

Next Sunday is the 2016 Tony Awards, and as usual, I feel more than a little unprepared for the show. However, I also think I'm better informed than I have been for the past few years thanks to a wealth of online resources (and because it seems pretty certain that Hamilton will be a juggernaut). Below are a few of my favorites just in case you are looking to do some cramming for the Tonys or in case you are looking for some great information on Broadway and theatre.

My go-to resource for all things Broadway is BroadwayRadio. I've been a longtime listener to their Sunday podcatsts (and Peter Filichia wrote the first theatre book I ever bought for myself). Recently, they've expanded their podcast, so they have one each weekday morning in addition to the one on Sunday. These daily podcasts are shorter (usually around 15 minutes each), and they include review round-ups for shows that have just opened as well as news related to Broadway and the theatre world. The hosts (James Marino and Matt Tamanini) have an obvious love of theatre, and their well-informed and strong opinions are always thoughtful and engaging. Additionally, BroadwayRadio seems to be acquiring new theatre-related shows on a weekly basis, so this is definitely a resource to check out!

Love them or hate them, The New York Times is a wealth of information on Broadway, and their Tony Awards section is extensive, with news, interviews, and videos. I also love following the theatre critics' liveblog and Twitter accounts during the awards telecast.

While this isn't a resource dedicated to theatre, I'd be remiss if I didn't include the interview Broadway producer Scott Rudin did with Terry Gross on Fresh Air. He had some wonderful insights into the backstage world of Broadway. Additionally, if you go into the Fresh Air archives, you can find some excellent interviews with other theatre personalities, including Stephen Sondheim, Sheldon Harnick, and John Kander.

Happy reading/listening!


Yes, I know I posted this last year. And yes, I still think it applies.

The 2015 Tony Awards: The Host & Best Musical Nominees

The 2015 Tony Awards were earlier this month, and while I came in knowing very little about the shows, I found it to be a mostly entertaining night. While there were some egregious missteps (flat jokes, problematic musical numbers, the deeply awful "In Memorium" presentation), overall, it was an entertaining and enjoyable night celebrating theater. While there are some great play-by-plays and reviews online (The New York Times always has a great Tonys section), I wanted to add my thoughts to the ones already out there. So, let's rewind to earlier in the month and relive the great and not-so-great moments.

The Hosts - I have to admit that I'm torn about Kristin Chenoweth and Alan Cumming. On one hand, they brought a lively sense of irreverence to the proceedings. At their best, it was a little like watching the Tonys with your two snarky, opinionated theatre friends who mock everything but in a loving and joyous way (as opposed to a bitter and angry way). For instance, watching Alan Cumming plug Josh Groban's performance for 90 minutes or so was funny because it was obvious that Cumming thought the constant reminders were obnoxious. I also enjoyed the little musical interludes that the hosts did before the commercial breaks.

However, there were times when the hosts (or the writers or both) went too far and the jokes landed with a thud or failed to launch at all. Case in point: After an amazing performance from Fun Home (more on this in a moment), the audience was treated to a lame E.T. joke. As Dave Itzkoff at the Times put it:

If you're really mad at Game of Thrones, remember you could have seen this on the Tonys. pic.twitter.com/sgUPKkUVet

— Dave Itzkoff (@ditzkoff) June 8, 2015

Let this be a lesson that sometimes less is more and that, if you are going to do a lame joke, then at least plan to do it after a crappy performance.

The Best Musical Nominee  Numbers
Fun Home - For most people, this was THE number of the night. Sydney Lucas, who plays the youngest version of Allison, showed some major acting and singing chops in "Ring of Keys." While this number doesn't seem like an obvious one for a Tonys telecast (most shows went for big, splashy, and fun production numbers), it was perfect.

Something Rotten! - While it was very meta (the song is all about musicals and the sometimes preposterous tropes and conventions they contain), it was a nice way to kick off the night. Also, anything that mocks Les Miserables gets a pass in my book.

The Visit - It is always nice to see Chita Rivera performing, especially when she is performing Kander and Ebb. Sure, it was befuddling (Chita is dancing with a younger version of herself, and according to those who have seen the show, the men in masks are supposed to be eunuchs), but it's Chita and Kander & Ebb.

An American in Paris - I don't know why, but I have an unexplainable animosity towards this show. I think that part of it stems from the fact that it (according to all accounts, rightfully) bested On the Town in the choreography category, but the Tony number it selected didn't endear it to me either. It was the perfect example of why medleys don't usually fare well in this venue. It was overstuffed and rather confusing (if you didn't know anything about the show, this probably wouldn't help you).

Tony, Tony, Tony!

I know it has been a while since I've blogged here, but tonight is Tony night!



While I know next to nothing about the nominated shows this year, I'm still excited. In a sense, this makes tonight's broadcast even more interesting to me since it will (in theory) give me a chance to learn more about the shows, and I won't get too upset if a show I love doesn't win.

I plan to have a reactions post on the Tonys up later this week. Stay tuned!

Characters Loved & Lost: Part II

After having a few weeks to think about the topic of character deaths, I must admit that I'm still torn about the issue. As mentioned in my previous post on the topic, I don't necessarily like my entertainment to be dark and depressing, but I also think that, in some cases, the death of a character makes sense. In order for this to happen, the death needs to fall into one of two categories: the character's death fits the storyline and/or propels the storyline forward or the actor who played the character died.

Storyline-Related Deaths - There are some instances where the death of a character fits with plot, character, and setting. For instance, if a given character has strong ties to other characters on the show, and his or her absence couldn't easily be explained away. The best example that comes to mind from my (very) limited scope is Mark Sloan on Grey's Anatomy. After having been established as wanting a child for several seasons, it would have been an abrupt about-face if Mark left the hospital and his family (including daughter Sofia and bffs Derek and Callie). While Shonda Rhimes has been known for killing off characters in unnecessarily violent ways (George was hit by a bus and was rendered unrecognizable to his co-workers, while Lexie died in a plane crash and was eventually eaten by wild animals), killing Mark, who actually had a pretty nice send-off by Grey's Anatomy standards, seemed fitting. Additionally, the plane crash (and Mark's and Lexie's deaths as well as Arizona's injuries) ended up providing the impetus for the following season (which wasn't that great, but at least it served a purpose).

Another, and perhaps more controversial, instance of this is the death of Henry Blake on M*A*S*H. I have enough self-awareness to know that I would have been one of the many angry fans if I had been around when Blake was killed, but in retrospect, the death seems very fitting. In times of war, there aren't always happy endings, and while the show had its share of death because of its nature and setting, having a main character die helped drive the reality of war home.

Actor-Related Deaths - While storyline-related deaths allow for the creators and show runners to work towards achieving some sort of creative vision, actor-related deaths come about as a necessity. Whether it is Coach on Cheers or Finn on Glee, killing off a character after the actor has passed away is usually the right thing to do. Not only does it give the character some closure, it also shows respect to the actor and the audience. In the case of Finn, not only was the character a central one to the show (the Ryan Murphy has mentioned numerous times that his vision for the ending of the show always involved Finn) but Cory Monteith's death received so much attention that having the character fade away into the ether would have been not just impossible but insulting.

Are there other reasons or scenarios where killing off a beloved character makes sense? Please chime in below!

Characters Loved & Lost: Part I

Warning: Spoilers (at least they are spoilers if you are a week or two or three behind on Bones) ahead

Last night, on a whim, I decided to alternate between watching Grey's Anatomy (a show that I watch more out of habit than anything else) and Bones (a show I stopped watching several seasons ago). While I had a vague sense of what was happening on Bones, I was surprised to find that it killed a series regular in the season 10 premiere. A quick Google search later, I found an article that said one of the reasons the show killed Sweets was because the actor who played him, John Francis Daley, was in demand for writing and directing other projects. Stephen Nathan, the show runner and creator, told Daley that "it would be more satisfying for the fans to conclude Sweets in a dramatic way rather then for it to be up in the air and have him come back midway through the season."

Thinking about this today, I'm torn about this reasoning. First, the more cynical part of me can't help but think that Nathan, who has a history of including shocking moments in Bones, couldn't withstand the temptation to off a character in a dramatic fashion. In the past, he had Zack Addy, Brennan's original intern, become a cannibal serial killer's apprentice, and he killed Vincent Nigel-Murray, another intern, as part of a sniper story arc. Killing Sweets in the premiere seems right up Nathan's alley.

Additionally, the idea that Sweets's death would be considered "satisfying" is puzzling to me. Since I tend to watch television as a means of entertainment and escape from the real world's myriad problems, having a regular character on (what is usually) a light-hearted procedural drama get beaten to death is jarring. I know, I know - People die all the time in real life. True, but I'm not watching Bones for its adherence to reality. Even as a one-time viewer (and a casual one at that), I found Sweets's death distinctly unsatisfying. Comments on articles and on Previously.tv's Bones forum indicate that I'm not the only who didn't think the send off was warranted (or satisfying).

This isn't to say that television characters should live in perpetuity. In some cases, a character's death is necessary, cathartic, and (yes) even satisfying. While I plan to explore this in next week's post, I'd love to hear from you on this topic. What is your take when it comes to the deaths of television characters? What works for you, and what doesn't?

Revisiting Smash a Year after its Demise

Many, many things of note happened while I was taking a break from the blogosphere, and one of the most interesting (at least to me in relation to this blog) was the strange creature that was Smash. When it was first announced, people were taken with its solid pedigree from both the film/tv (Stephen Spielberg! Anjelica Huston! Debra Messing!) and theatre (Marc Shaiman and Scott Wittman! Theresa Rebek! Megan Hilty!) worlds, and its premiere opened to a lot of fanfare and some solid reviews. However, almost from the beginning, the show was plagued with numerous problems in front and behind the cameras.

A lot has been said about the rise and fall of Smash, including an intriguing behind-the-scenes look by Marc Shaiman, the insightful and delightfully dry review by The New Yorker’s Emily Nussbaum,  and a series of recaps from The A.V. Club, the latter of which includes the wonderfully snarky (and accurate) summation of the series as a “long parade of talented people and Katharine McPhee realizing the show with such promise they signed on for has become… this.” Given all of this and the fact that the show lasted a mere 32 episodes, it seems like everything that needs to be said about Smash has been said. However, thanks to the magic of YouTube and its “Watch It Again” section, I found myself revisiting some of Smash’s highlights and lowlights, which got me to thinking about the show as a whole.

One of the issues with Smash is that it often garnered the wrong kind of attention, especially near the end of its brief tenure. After a thrilling pilot, which culminated with Ivy (Megan Hilty) and Karen (McPhee) vocally duking it out with the rousing “Let Me Be Your Star,” the show made a series of missteps that alienated its natural fanbase (theatre people). The characters lacked subtlety and consistency, deus ex machina seemed to happen every week (Grace Gummer comes to help her mother [Anjelica Houston] see the error of her ways before going off to count trout or salmon or something), and even the most basic plot points and details seemed ridiculous. By the show’s end, the small audience that remained mostly consisted of hate-watchers who wanted to comment on Karen’s awfulness or Julia’s (Messing) questionable scarf choices and annoying son. In all honesty, reading the recaps and forums at places like the departed Television without Pity were much more entertaining and lively than anything depicted in the Smashverse.

However, thinking about the show and watching clips a year after it ended has been an enjoyable experience. Yes, the show is still deeply flawed, and yes, Karen/McPhee continues to be its weakest link, a distinction that is impressive since the show had so many problems. However, minus the animus and the derisive, if often deserved, commentary surrounding the show in its death throes, Smash is indeed entertaining in a non-ironic way. There are some very good performances that transcend the terrible character development; Hilty, Messing, Jack Davenport, Houston, and even Jeremy Jordan, who was saddled with a character that seemed custom-made to be awful, did the best they could with what they were given. Hilty, by far, was the highlight of the show, and she was able to give Ivy dignity despite the character’s whiplash-inducing turns. The other aspect of the show that truly stood out to me upon rewatching the clips was the musical numbers. There were some stinkers, to be sure (I had a very hard time connecting to Hit List, a show whose dislikable characters rival the ones found in Smash), but many of the songs are quite good. Shaiman and Wittman’s contributions, including the Bombshell songs and the wonderfully campy “A Thousand and One Nights” (ignore McPhee's contributions and concentrate on Raza Jaffrey and the rest of the cast), stand out. The second season brought some stellar numbers from Andrew McMahon, Joe Iconis, and Pasek and Paul. Even when the show’s plot was cause for secondhand embarrassment, the musical numbers, for the most part, were interesting and sometimes even excellent.

A great deal of blame has been heaped on McPhee, and she (or at least her character) was a major part of the problem. While people formed factions along party lines (Team Ivy or Team Karen), the issue of Team Karen was the Karen was very difficult to root for. Set up as the person that the audience was supposed to identify with and want to see succeed, Karen ended up being not the likable everywoman or even a flawed if ultimately sympathetic protagonist but an object of scorn who managed to be both insipid and incredibly unpleasant. McPhee isn’t blameless when it comes to Karen’s awfulness, but she also isn’t entirely at fault. Although another actress (Laura Osnes, a true Broadway ingénue who also got her break from reality television, was considered for the role and would have been a better fit) could have brought out Karen’s more likable characteristics and perhaps even a sense of genuine goodness and vulnerability, the writing for the character undermined the ultimate goal of making her relatable. As Nussbaum cogently puts it in her article, Karen is a “human humblebrag” and “a one-note character [who McPhee] then took… down a half-note.”

McPhee’s acting chops are decidedly not up to the job of transforming Karen from a passive-aggressive Mary Sue to an actually likable character, but that isn’t the only problem at work. Despite Smash’s attempts to tell us that Karen is the most awesome, most special, most talented actress ever to appear on the Great White Way, McPhee doesn’t have the incandescent sparkle needed to match the rapturous praise her character receives in heaps. She also suffers by comparison to Hilty and the head-to-head competition between Karen and Ivy that is dictated by the script. In most cases, Hilty wins hands down. However, this isn’t to say that McPhee is untalented; there are moments where she did an okay job with Marilyn (please don’t throw things at me), and numbers like “Public Relations” show moments of the sparkle that the other characters constantly attribute to Karen. Unfortunately, this small glimmers do not an entire character make.

Over 365 days and 1,000+ words later, I’m still awed and entertained by the rapid rise and fall of Smash. The awe comes from the fact that such a talented group of people was able to assemble and make a television show about musical theatre in the first place, and the entertainment comes from both the show’s better moments and the enmity it inspired in its implosion. However, despite hindsight being 20/20, moments of Smash remain thrilling. With that in mind, I’m ending with two more of my favorite moments:

 

Yes, this is a little too "Up with People," especially since the song is about suicide, but I enjoy this version of song a great deal. If only the rest of Hit List were as raw and energetic as this.

It was a toss-up between "Let's Be Bad" and "The National Pastime" for this slot, but Hilty has so much great subtext in this number that it wins.

Why Save PBS? A Site Helps Us Count the Ways...

I'm getting back on the PBS soapbox today to post an excellent infographic from the insightful (and provocatively named) F*ck Yeah PBS. While PBS is not to everyone's tastes, it does provide a necessary and important service. Furthermore, I like to think that PBS and NPR both address an idea that is fundamentally American, which is that arts, education, and culture should be available to everyone. Anyway, the site had this wonderful infographic that explains why PBS is so important:

Why PBS is Important

I opted not to watch the first presidential debate this week for three reasons:

1. It wasn't going to change my mind at all
2. I needed to grade papers and wanted to stay in a relatively good mood for the experience (otherwise, I knew my students would suffer the consequences)
3. It would make me angry

Although I didn't watch any of the debate, I certainly heard a lot about them. Besides being pleasantly surprised by my students (who not only watched the debate but asked me questions about it and brought up points made by the candidates on education), I also heard about Mitt Romney's ridiculous idea to cut federal funding for PBS because of some misguided notion that the subsidy PBS receives is what is causing the nation's fiscal problems. 

At first, I thought this claim was a joke. For months, conservatives have talked up Romney's business sense. However, if he thinks that the money that PBS gets is really pushing the U.S. economy down the path of no return, then he can't be any good with finance, money, or budget.

Time, among other sites and news outlets, has noted Romney's bizarre (and likely ill-advised) decision to go after Big Bird by name in the debate. Romney has also sparked outrage from people ranging from the head of PBS to a (supposed) eight-year-old girl who wrote a letter voicing her displeasure. LeVar Burton, the former host of Reading Rainbow, has also criticized the move and called it "an attack on children" during an interview with Soledad O'Brien. Burton makes some excellent points on the issue:

However, my favorite defense of PBS comes from Mr. Rogers. In 1969, President Nixon wanted to cut the funding for PBS in half. In order to prevent this from happening, Mr. Rogers appeared before Congress. In a scene that would do Frank Capra proud, he uses his kindness, sincerity, and good sense to disarm the head of the committee and save PBS's funding.

The 2011 Tonys: Just Because You Try Doesn't mean You Succeed

Since there were only two musicals nominated for "Best Revival of a Musical," I'm going to analyze/snark on the numbers from both the revival musicals and the new musicals in one post. Besides being more expedient (I'm feeling a little guilty for neglecting the Tonys last week), I've found that I didn't have a lot to say about many of the numbers.

The "Best Revival of a Musical" Production Numbers

How to Succeed in Business Without Really Trying

Daniel Radcliffe certainly gave it the old college try when leading the cast in a rendition of "The Brotherhood of Man." Even though I'm not a big Harry Potter fan, I was rooting for Radcliffe to do a good job, and I wasn't disappointed. Although he isn't the best singer, I thought that his performance overall was very charming. He has a nice stage presence and is a surprisingly good dancer. The overall staging of the number was good, even though I'm not the biggest fan of  Rob Ashford (seriously, sometimes less is more), and the entire ensemble had good energy. The exception to this was John Larroquette. I'm not certain if he decided to play his character as being preternaturally bored, but he really didn't seem to be enjoying himself at all. My favorite part is, in the last 30 seconds or so of the number, Larroquette is hidden in the back of the formation to disguise the fact that he isn't a dancer and that he isn't really dancing. This, obviously, does not work.

Anything Goes - The show's title song was performed by the lovely and talented Sutton Foster and ensemble. While there wasn't anything wrong with it per se, it managed to be perfectly adequate without being all that memorable or special. I wonder if my ennui with the number in general stems from its overexposure. I feel like I had seen Foster sing and perform "Anything Goes" numerous times (in rehearsal footage, on the show's site, and on various talk shows). Perhaps Foster was feeling the same, since she was missing her trademark spark.

Best Musical Production Numbers

Catch Me if You Can - After a brief appearance and intro by Aaron Tveit, Norbert Leo Butz led the ensemble in "Don't Break the Rules," which many have cited as the high point of the show. Unfortunately, this doesn't speak that well to the show's merits, since my co-bloggers and I found the number very "meh." Unlike "Anything Goes," I don't fault the performers, since Butz and company are giving it their all. Instead, I think that the song in and of itself is flawed, and no amount of showmanship could have saved it. My favorite thought regarding this number comes from The Craptacular's Twitter feed: "Don't Break the Rules" plays a lot less compelling/exciting when its not preceded by like, 40 minutes of boring sh*t."

Sister Act - I have a soft spot for Sister Act (the movie). While Petina Miller has a nice voice and a great stage presence, she and the rest of the sisters weren't enough to make me forget the excellent ensemble in the movie. That said, "Raise Your Voice" wasn't bad, but I don't know if it would convince people to buy tickets. For me, it made me want to get the movie from Netflix rather than go to New York to catch the show.

The Scottsboro Boys - This number presents a conundrum. On one hand, it was well-written, well staged, and well performed by the actors. However, I have a problem with the fact that the number really, REALLY wasn't all that representative of the show as a whole. I don't know if the producers and the director (Susan Stroman) thought that doing a representative number was less important than showcasing the talents of the cast, but it did come off as very strange. Based on the number, you would think that this would be a lighthearted musical about friendship (trust me, it is not).

The Book of Mormon

The Book of Mormon broke with the trend of the evening (and the trend of most musical numbers performed at any given Tony Awards) by not doing a big ensemble number. In fact, "I Believe" is essentially a solo performed by Elder Price, with some unwitting (and very reluctant) assistance from the Ugandans at the end of the number. While I would have liked to have seen Josh Gads be featured in some way (not only was he not in this number, the camera didn't even cut to him when they were announcing the nominees for "Best Actor in a Musical"), I appreciated the break from big production numbers. Andrew Rannells did a wonderful job being believably sincere and appropriately earnest, and he has a great voice. I also thought that, unlike the Scottsboro number, this song perfectly encapsulates The Book of Mormon. After hearing this quasi-power ballad, you would definitely know what you were getting into if you decided to see this show.

My Thoughts on the 2011 Tonys (Part I): The Host and the "Extra" Production Numbers

I've had (almost) 24 hours to ruminate on the Tonys, and while I'm not nearly as pessimistic as I was last night, I'm still somewhat disappointed. It wasn't bad at all, but it was predictable and (on occasion) mind-numbingly boring. With few exceptions, this was not from lack of effort. Neil Patrick Harris sang, danced, and hosted his little heart out, and a lot of people, from Hugh Jackman to Bono to Daniel Radcliffe, were incredibly good sports. Perhaps I was expecting too much (this is an ongoing problem with me and the Tonys); I found the entire show serviceable and competent but not terribly exciting.

The Host - As I said, Neil Patrick Harris did a nice job. While some people might disagree, I would much, much rather watch NPH host than Hugh Jackman (or, God forbid, Sean Hayes, Whoopi Goldberg, or Rosie O'Donnell). He was charming and kept the momentum of the show going for the most part. That said, I do think he was trying too hard. The effort he was putting into being his usual lovable self was almost palpable, and I wanted to give him a hug and tell him to chill for a few moments. However, when he was on (such as the opening number, the hysterical glue joke regarding the War Horse, the showdown between him and Jackman, and even the rap, which was much better than I gave it credit for last night), he was good.

The Opening Number - I liked the idea of having an original number for the opening (rather than a mash-up of all the nominated shows). Besides being somewhat coherent (at least in theory), it also incorporated a lot of the shows without trying too hard. It was cute, but the most memorable part of it was Brooke Shields's epic screw-up that seemed to go on way too long. In fact, I couldn't remember much of the opening until I saw it on YouTube. This is not a good sign. However, it does get kudos for me for having the audacity to have NPH sing about how Broadway isn't just for gays while being hoisted aloft by a bunch of sailors who are shaking their butts in time with the music. That's special (in the best way possible).



The "Extra" Numbers from Shows that Were Not Nominated this Year - Many people argue that the Tonys have become one long commercial for shows (mostly musicals), and the number of extra numbers from shows not nominated doesn't help disprove that theory. Although most of these numbers were not as awful as the extra numbers we've gotten in the past (Young Frankenstein and the intolerable Mamma Mia! numbers come to mind), that doesn't mean they were good.

• Memphis - Dammit, Tony Awards. Stop making me watch this damn number from Memphis. "Steal Your Rock 'n' Roll" was boring last year, and it was even worse this year. The inclusion of the small children dancing in the aisles only made me surlier, since it was obvious applause bait. If Memphis comes back next year, I might even start praying for the return of Jersey Boys, if only because that show has okay music.
• Spider-Man: Turn Off the Dark - The Spider-Man producers went an interesting route for the number they selected for the Tonys. Rather than focusing on the flying and acrobatics, we got a duet between a very bored-sounding Mary Jane and Peter. I can't help but wonder if they opted for this because 1) the issues with bringing the rigging to the theatre or 2) they wanted to appeal to more traditional audience tastes (See! It has a love story! Just like Oklahoma!). Either way, I'm not convinced this was the best choice. Besides downplaying the comic book aspects of the show, it also proved that hearing other people sing the songs of Bono and The Edge isn't that interesting.
• Company - I wanted to like "Side by Side by Side," and it wasn't awful, but it wasn't great either. It was mostly "meh" and didn't seem nearly as rehearsed or polished as the version taped by the New York Philharmonic. The inclusion of the three girlfriends was understandable (hey, people need to get their Christina Hendricks fix) but clumsy. That said, I'm still excited about seeing the show this week.

The 2011 Tony Awards: First Reactions

Oh Tony Awards. Every year I think that this year's telecast might be better than last year's, and every year you manage to prove me wrong. It wasn't anything was obviously wrong per se. Unlike past years, the sound wasn't awful and no one got hit in the head with the set. However, it was just so boring that even I (a theatre devotee with an aversion to sports) was tempted to change the channel to the NBA finals just for something more exciting. Even live blogging it with the snarky but reluctant help of my brother and sister didn't make this year's awards any more exciting.

However, I will do some roundup posts on the evening's events, including posts dedicated to the performances for Best Musical and Best Revival of a Musical. Stay tuned for critiques, kudos, and snark aplenty later this week.

Live Blogging the 2011 Tony Awards

Glee Season 3: A Wish List

Glee has had quite a year, hasn't it? While there were some bright spots (I still stand by my opinion that "Grilled Cheesus" is a good episode), the season overall was uneven at best. However, I am not ready to give up on the show just yet. Here's a wish list of what I would like to see next season:

• New Directions Needs... Well, Some Direction - As a recovering theatre junkie and stage manager, one of the things that annoys me the most about Glee is that our lovable band of misfits seems to slack like no one's business. It is very hard to root for them when they are always scrambling around at the last minute to write songs or finalize a set list. I know that this is (possibly) due to the fact that the show doesn't want to subject us to watching the same song being rehearsed over and over again. However, isn't there a way that the show could set it up so that we know that the group is practicing but we don't get to see the finished product until the competition? Although I know I am supposed to hate Vocal Adrenaline for their ruthless practices, I have to admire their work ethic.
• Stop with the Original Songs - I actually liked the first set of original songs. "Get It Right" grew on me, and "Loser Like Me" (with the exception of the unforgivably awful rap section) was very infectious. By the time that Nationals rolled around, I was over original songs. The first time they were an obvious but fun gimmick. The second time, it just didn't work. Just pay the royalty fees and get some decent songs please.
• More Creative/Innovative Covers of Songs - In lieu of original songs, I'd love to see more creative takes on existing songs. One of the best (if not the best) songs of season 2 was the wonderfully unexpected and understated mash-up of "I Feel Pretty/ Unpretty." Not only did it suit the talents of the performers and make sense in terms of the plot, it was a gorgeous remake.
• Don't Mess with Schue's Relationship with Coach Bieste - Schue is often an intolerable character. He's overly familiar with the students, he tends to make everything about him, and he needs much more discipline (when it comes to his personal life and to his teaching). However, if anyone brings out the best in Mr. Schuester, it is his friendship with Shannon Bieste. In all honesty, Coach Bieste is perhaps the best change in season 2. Please don't screw up her character or her awesome friendship with Will. In fact...
• More Friends without Benefits (Please!) - I understand that this is a show about teenagers, but I'm exhausted by the romantic musical chairs. Out of all of the relationships on the show, the ones that I find the most interesting are the friendships among the characters. Kurt and Rachel, Mercedes and Rachel, Mercedes and Kurt, Puck and Artie - the list is long. I'd love to see more development of these friendships and see more of them next season.
• Take It Easy with the Guest Stars - Although I don't have the intense hatred that some people seem to have for Gwyneth Paltrow, I seriously overdosed on her this season with Glee. My problem with her guest spots is that they didn't seem to add to the episodes so much as take over the episodes. It felt like she sang every (or almost every) song and had a huge part in each of the three episodes she was in this season. While the first season's guest stars were used just enough (Josh Groban comes to mind), I felt like a lot of guest stars this past season were either shoe-horned in (see: Jonathan Groff) or completely hijacked the show.

By no means is this an exhaustive list, and there are so many more things that I could (and probably should) include. Please feel free to add your wishes for season 3 in the comments!

"Unpretty/I Feel Pretty" from Glee

With a few exceptions, I've been underwhelmed by Glee this season. Maybe it's the sophomore slump or perhaps it's because the show has been uneven (even by Glee standards), but I haven't had much to say about the show. However, last night's episode was better than most, and might even be up there with the first half of the first season.

The best number of the night (and one of the best, if not best, of the season), was Rachel and Quinn's rendition of "Unpretty/I Feel Pretty." Although the two actresses' voices don't seem like they would mesh together well, they were able to make the most of Quinn's voice, which is pretty but not particularly strong, while toning down Rachel's powerhouse voice. In addition to the beautifully balanced vocals, the direction and editing was excellent and added to the song's poignancy. Even though I had no love for "Unpretty" or "I Feel Pretty" as separate songs, I've listened to this song on repeat for the past hour.

I particularly appreciate that the understated arrangement really highlights the lyrics of the songs. Back when I worked in speech and drama at the high school level, I remember someone telling me that a student used "Unpretty" as part of her poetry piece. While I was skeptical back then, I totally see how the lyrics can stand on their own without the music.

Dissecting Glee: "Journey to Regionals"

One of my secret ambitions is to be a theatre critic (I came really close once, but the gig didn't work out). While I probably need to be made of sterner stuff to be a critic, I still get a kick out of reviewing musical numbers. Therefore, I'm dissecting parts of the season finale of Glee. Just to clarify, this isn't a recap (I seriously considered calling it a Gleecap, but that was just too annoying) as much as it is a review of the sections that I found noteworthy. Let's get started with the songs...

"Faithfully/Touchin', Lovin', Squeezing/Anyway You Want It/Don't Stop Believin'":
I love a good '80s power ballad, and this mash-up/medley fit the bill nicely. Besides tying in very nicely to the pilot, the songs really fit the performers' voices. While Cory Monteith (Finn) sometimes gets flack on the TWOP forums for not having the greatest voice (and for the producers' prodigious use of Auto-Tune to correct it), I thought that "Faithfully" (as well as "Jesse's Girl" earlier this season) was perfect for him. Also, considering that the group is mix of people with different dancing abilities, the number's staging made sense. No, it wasn't nearly as ambitious (or insane) as Vocal Adrenaline's "Bohemian Rhapsody" choreography, but New Directions' staging looked like something that would be feasible for an actual high school show choir.

On a more shallow note, I should be making fun of the girls' use of Bumpits, but given that the entire look had a 1960s vibe (which is a little strange, since the music was solidly planted in the 1980s), the look worked. I also am digging the boys' black outfits with gold ties and the girls' gold dresses. The costumer for this show deserves serious props for finding a single dress that looks good on a bunch of different body types.

Questions, Observations, and Minor Nitpicks:

• Did anyone else think that Rachel was channeling Celine Dion during the beginning of "Faithfully"?
  
• I love Brad (the piano player for New Directions); he always looks so happy and into it when the kids are singing, regardless of who is singing and what the song is. His face during the middle part of the medley was priceless.
  
• During a reaction shot of the judges during the number, I could see Quinn's mom sitting behind them, even though she didn't come in until later in the number. However, consistency/logic has never been Glee's strong suit.
  
• Did we really need a key change in "Don't Stop Believin'"?
  

"Bohemian Rhapsody" and The Birth of Beth/Drizzle
While I can accept that New Directions lost to VA (I didn't think that ND would win going into Regionals), I refuse to accept that "Bohemian Rhapsody" would win over the Journey medley. VA has done some impressive numbers, including the incredible version of "Rehab" from one of the first episodes of the season. However, "Bohemian Rhapsody" left me cold for a number of reasons. Besides the fact that it was pretty much a showcase for Jonathan Groff, who did most of the heavy lifting in terms of the vocals, the choreography was just too over the top for me. I could accept the polish of "Rehab," but "BH" was just too much. Also, I am still PISSED at Jesse and VA for egging Rachel, so there was no way I was going to be able to enjoy "BH" without some sort of serious comeuppance. Seriously, VA needs to cure cancer or something before I can appreciate a number the group does on its own terms.

On the other hand, "Bohemian Rhapsody" worked well as a parallel for the birth of Beth/Drizzle. The cuts were sharp and well-chosen, so hat's off to the choreographer, director, and editor. I am still highly amused by the juxtaposition of Quinn's screams with the song and with the doctor saying "The baby's crowning" with VA surrounding Jesse and him popping out of the center of the crowd. In fact, the editing/birth of the baby was the one thing that kept me from flipping channels during "BH."

"To Sir, with Love":
I don't like the song "To Sir, with Love," and I didn't really expect to like this number because of the maudlin nature of the song (I always think of this scene from Boy Meets World when I think of the song). That said, this number was surprisingly moving. The lead-up to the song, with each of the club members telling Will how they have changed over the course of the year, was genuinely sad (even though Mercedes's line "Glee club will never end, Mr. Schue, 'cause you are glee club. You're in all of us now" did make me roll my eyes).

The arrangement worked well and parts of it had a definite 1960s, girl-group flavor. Also, the very minimal staging really made the viewer focus on the song, the kids, and Will, who was appropriately choked up during the proceedings. The fact that the kids also looked completely stricken during the song made me forget about my cynicism about the song and get lost in the moment.

While it might seem out of character for some of the characters, such as Santana, to get so emotional about the thought of the end of glee club (it is very likely that the cast was so emotional about it being the end of the season), I thought that, given the capricious and emotional nature of teenagers, it worked. I also liked the shot of Sue watching from the back of the auditorium. Again, her softening up might seem OOC, but she was definitely in a more vulnerable place after that crazy confrontation in the judges' room.

"Over the Rainbow":
I have surprisingly little to say about this song. Matthew Morrison and Mark Salling did a beautiful job harmonizing, and the kids' reactions were very sweet. However, while it is nice to know that New Directions would live to see another day (not that there was much doubt for the audience - the show's been picked up for a second and third season), I can't help but think that "To Sir, with Love" would have made a more powerful ending to the season. However, since I like resolution, I'd probably be bitching if things were left up in the air.

Overall, "Journey to Regionals" reminded me of what I loved about the show. Despite the breakneck pace of the first season and the multitude of unresolved plotlines (Jesse, what the hell happened?), I plan on tuning in for the show's second season.

Please feel free to weigh in with your thoughts in the comments section. Also, I'm toying with the idea of making this Glee dissection a semi-regular part of the blog. Any takers?

Glee: Some Thoughts on the First Season

Oh Glee, how far you've come. Since the show debuted a year ago, the cast has become very popular (and almost annoyingly ubiquitous), and the series has become something of a cultural phenomenon. That said, the first season has had a lot of highs and lows, and ultimately, I have found it entertaining if rather uneven.

The pilot was very promising, and I have must admit that the first half of the season, which ended with "Sectionals" was strong. Even with some strange missteps, such as "Acafellas" and two crazy pregnancy plots, the first set of episodes had a nice mix of snark, snap, heart, and music. Not only was the show's tone fairly consistent, but the musical numbers were well selected and entertaining (if somewhat over produced). "Sectionals" was an extraordinarily satisfying close to the first half of the season, and I couldn't wait for the second half to start in April.

And then, when the show returned, something was very off (at least to me). Watching the back nine episodes has been a somewhat schizophrenic experience. Mixed in with some fun moments, such as "Like a Virgin" and "Gives You Hell," there have been way too many after-school special/one to grow on episodes. As much as I loved the Mercedes-Quinn bonding in this second half of the season, episodes like "Laryngitis" and even (sigh) "The Power of Madonna" left me cold. In fact, besides "Journey," which had me weeping like a baby, the only episode I thoroughly enjoyed from the second half of the season was "Dream On," which managed to combine Neil Patrick Harris, Joss Whedon, and "Safety Dance."

Besides the sometimes overly didactic tone, there were some other notable problems with the back nine. Perhaps the two most glaring problems have to do with the show's admittedly well-deserved popularity. In some cases, it really felt like the show was buying into its own hype. Rather than having songs that wove into the plot seamlessly, we were treated to theme episodes. "The Power of Madonna," which I really wanted to like, and "Theatricality" seemed to have the songs pre-selected without regard to the plots or storylines.

The other issue is that many of the plot devices seemed thrown in to appeal to the show's clamoring fan base. Why not have Jonathan Groff play Rachel's love interest? The fans want Idina Menzel to play Rachel's mother - let's get on that! This, along with the bizarre themes for each episode (funk, home, dreams, hello), made the show seem like it was making things up as it went along, rather than having a well-developed idea of where it was going. Sometimes, watching a given episode seemed more like Glee crossed with an insane version of Mad Libs. While taking the fans' suggestions and ideas to heart is admirable, it is also important to not just cater to the fans' whims but to also have a strong story.

This is not to say that I am giving up on Glee just yet. "Journey" did a lot to redeem the show, at least from my perspective. Although the plot still went at breakneck speed, there was a lot to like about this season ender. The songs, particularly the Journey medley, did a nice job of calling back to the pilot, and even though "To Sir, with Love" had me rolling my eyes a little, it still got me choked up. Also, I thought the redemption of Sue made some sense. Besides her quick defense of the kids in New Directions when confronted with outsiders trying to tear them down, I could honestly buy that she wants to have Will and his club around to antagonize next year. Plus, since I believe Will when he said that Sue really loves her students, I like to think that she didn't want to hurt them by having the club disbanded, particularly after hearing them sing to Will in the auditorium.

I might write a little more on Glee this summer; since Fox is showing all of the episodes again, it will be interesting to see how they hold up to another viewing...

This is Amazing: A Shot-by-Shot Recreation of the "Perfect Strangers" Opening

As a child of the 80s, I have a soft spot for cheesy sitcoms. One of my favorites of all time is Perfect Strangers. Yes, it could be stupid and was probably very offensive to some people (as TWOP once noted, in this show, "Greece = outer space"), but I still have very fond memories of it. To my surprise/delight, Mental Floss featured the credits (albeit as an example of a bad television credit sequence), and someone in the comments section that there was a shot-by-shot remake of the sequence available on YouTube.

I am not ashamed to admit that I have watched the sequence several times today, and I have downloaded the theme song (soon to become my new ring tone). Enjoy the videos - I am off to do the "Dance of Joy."

Here is the remake:


If it has been a while since you've seen the original set of credits, the creators of the recreation did a helpful side-by-side comparison, which is also available on YouTube (the width prevented me from posting it here - sorry!).

The Kennedy Center Honors

Unlike many ceremonies and awards shows, The Kennedy Center always does an excellent job providing a retrospective of the honorees' achievements and work. Yes, the Kennedy Center Honors have had a few bumps (even I felt bad for Jessica Simpson when she tried to pay tribute to Dolly Parton), but the presentation is consistently thoughtful and touching.

In addition to the "awww" factor (just see how happy and moved the honorees are when they watch the presentation and try not to tear up a little), the show's producers have been very good at getting some excellent talent for the ceremonies. This is particularly true when it comes to honoring theatre composers, lyricists, and performers. Not only do these presentations usually include the de rigueur biographical video and speeches, but they typically have a selection of numbers associated with the honoree. Furthermore, these numbers are often performed by some of the original cast members. Where else will you get to see Liza Minnelli, Chita Rivera, Joel Grey, and Alan Cumming dancing to "New York, New York"?

Here are a few of my favorite theatre moments:

Kander & Ebb (1998)


This is one of the most amazing performances ever. Even though Liza is a little shaky, it is still an awesome movement. As an added bonus, you can also see how excited Bill Cosby and the Clintons are during the performance. Even though I don't typically like audience reaction shots, the Kennedy Center Honors are the exception to this.

Julie Andrew (2001)


Not my favorite set of performances, but Julie Andrews's palpable graciousness is incredible to watch.

Mel Brooks (2009)


There is so much to enjoy. Even if you (like me) get a little weirded out during "Springtime for Hitler," this clip just cracks me up. An added bonus, you can play "Hey, look who that is!" during the audience reaction shots.

Reassessing Glee

Since Glee’s hiatus (because of the World Series) and return, I’ve been reflecting on the show and my initial thoughts on it. I loved the premiere episode, but I’ve found the following shows to be somewhat uneven. Some are really good (“Preggers” and “Showmance”) and some seem like filler at best (even guest stars Victor Garber, Josh Groban, and Debra Monk couldn’t save “Acafellas”). So where does all of this leave us and the show? Here is my rundown of the show’s best and worst features, in no particular order.

The Best:

• The kids really are the best part of the show, and I really like how the characters are starting to develop. This is particularly true in the case of Quinn and Puck. Initially, it seemed like they were going to be the resident villains, but they have become more three-dimensional characters. Quinn’s struggle to deal with her baby drama has helped her move beyond the cheerleader queen persona found in the first episode, and Puck’s decision to join the glee club (and remain with it after the football coach gives a harsh but mercifully short ultimatum to the singing jocks) shows that he is more than a cougar-chasing teen. Now if only the rest of the characters (besides Rachel and Finn) could get more air time…
• In the same vein, the show doesn’t shy away from making the characters very flawed. Even though many of the characters seem like they are pretty good people, they all say and do some horrible things.
• The songs and performances are usually pretty good (if incredibly overproduced). My favorites so far include: “Sweet Caroline,” which Puck used to try and impress Rachel, Rachel’s version of “Take a Bow,” the mashup songs, both “It’s My Life/ Confessions” and “Halo/ Walking on Sunshine”
• The guest stars have been great (so far). The list of cameos is impressive, but I doubt that Glee will become like Will & Grace or Friends in throwing on random guest stars at will. The stars that have appeared have been interesting characters, and Ryan Murphy seems to love taking actors known for their singing chops (see Josh Groban, Debra Monk, and Victor Garber) and not have them sing, which is actually kind of refreshing.
• The show’s sly sense of humor and wit help elevate even the weaker episodes into something that is entertaining if not great. While Sue Sylvester probably gets the best lines out of anyone, Kurt and Artie also have some good moments.
• Heather Morris, who plays functionally illiterate cheerleader Brittney, also deserves special mention for excellent comic timing. She does a lot with the minimal screen time that she gets. Plus she is an awesome dancer, which shouldn’t be surprising since she used to be a backup dancer for Beyonce.

Needs Improvement:

• The show seems to try and divide the focus between the students and the adults. It would be much better if the adults were on the sidelines more, especially since the adults are pretty unsympathetic. While the students can do horrible things, at the very least we can partially excuse their behavior because they are supposed to be teenagers. The adults, on the other hand, have no real excuse beyond being crazy and stupid. Terry and her sister Kendra are complete shrews, Will is clueless and self-centered, and the other adults tend to be variations of stupid or utterly inappropriate.
• Since the show has returned from hiatus, we are finally getting a chance to see students (besides Finn and Rachel) get more airtime, but the show still feels more focused on Finn and Rachel than anyone else (besides Will). It isn’t that I dislike either character; Finn is goofy and dim, but he has a good heart, and Rachel (and her portrayer, Lea Michele) is very talented. However, I would love to see the other characters fleshed out more. Even the show that was supposed to revolve around Artie (“Wheels”) didn’t really let us get a better sense of that character.
• Enough with the baby/ pregnancy storylines. Quinn’s pregnancy is at least somewhat tolerable, but Terry’s fake pregnancy is excruciating, mostly because Terry seems like like a total bitch. The fake baby storyline also emphasizes Will’s utter idiocy and makes it very hard to sympathize with the character.

While I do have my quibbles with the show, the positives far outweigh the negatives. Now if only those damn pregnancy storylines would go away (and maybe take Terry and Kendra with them).

More Sesame Street Love

One of my favorite characters from Sesame Street was Ernie. In honor of Sesame Street's 40th anniversary, here are two of my favorite Ernie songs:

"I Don't Want to Live on the Moon"



"Imagine That"