REVIEW: Chess

Review of the Saturday, January 10, 2026 matinee performance at the Imperial Theatre in New York City. Starring Aaron Tveit, Lea Michele, Nicholas Christopher, Hannah Cruz, Bryce Pinkham, Bradley Dean and Sean Allan Krill. Music and lyrics by Benny Andersson, Tim Rice and Björn Ulvaeus. New book by Danny Strong. Based on an idea by Tim Rice. Orchestrations by Anders Eljas and Brian Usifer. Scenic design by David Rockwell. Costume design by Tom Broecker. Lighting design by Kevin Adams. Sound design by John Shivers. Projection design by Peter Nigrini. Choreography by Lorin Latarro. Direction by Michael Mayer. 2 hours, 40 minutes including one intermission.

While this season may be low in the number of new musical and new musical revival productions, it certainly isn't lacking in jaw-dropping talent. One need not look any further than the spectacularly performed and cast Chess at the Imperial Theatre. I suspect that come awards season we will see many (if not all) of the principal company nominated for many accolades. It is also thrillingly staged and technically exciting. Some truly amazing work has been done to give one of Broadway's most notorious flops the look and feel of a huge hit. But is this a checkmate? Close, but not completely.

The biggest change to this iteration of the ever-evolving piece is the much discussed "new book" by Danny Strong. Things have been streamlined, the focus has shifted, and story lines have been clarified. In fact, it is in much better shape than his last go at it with a production a few years ago at the Kennedy Center. But, and I think it's a big one, it suffers from a lack of consistent tone. By installing the Arbiter as a narrator and a character, Strong helps guide the audience through the labyrinth of plots - chess tournaments, Cold War manipulation, love triangles, etc. James Bond films are clearer. It turns out that by and large the narration does keep things moving and provides much needed historical context. Unfortunately, many of the asides and literal wink-wink-nudge-nudge directed at the audience offer a humorous bit of repetition with a decided amount of diminishing returns: constant reference to the current political climate goes from pointed, legitimate parallels to a cheap ploy to curry favor with the assumed liberal audience. I mean, I'm pretty liberal and have my feelings about things, but even I was tired of hearing it by the end of the show. Perhaps letting the events of history and the characters in the show speak for themselves would have been wiser. A little subtlety in an otherwise bombastic 80's mega-musical would have been a nice counterpoint and probably more impactful statement.

Fans of the score should be pleased - I know I was. There were some new, lovely orchestrations by Anders Eljas and Brian Usifer, who have retained all of the excitement of Benny, Bjorn and Tim's beloved score while bringing in a modern edge to it all. There are even a couple of newer songs near the start of act two, and a pretty overture as well. "He Is a Man, He Is a Child" gives some much needed heft to the character of Svetlana, and "The Soviet Machine" brings in some context and gives the villainous government officials something to sink their teeth into, too. Not to worry, though. All of Chess' greatest hits are still here, albeit in a somewhat different order. "Nobody's Side" is still powerful, "You and I" and "Mountain Duet" are two of the greatest duets currently on the boards, while "Anthem" and "Pity the Child" are the gold standard in character introspection, and "Someone Else's Story" is still one of my favorite female solos of all time. One hopes, with the updated orchestrations, significant changes, and the dynamic performances of the entire company, that a revival cast recording is done, and soon.

At first blush, Michael Mayer's production seems little more than a staged concert, but it really is so much more than that. True, the orchestra is onstage the whole time, and a good portion of the time, the ensemble sits around the edge of the space observing the action. But as the story evolves so, too, does the staging and elaborate choreography of the company, until you realize this is a fully staged musical. And speaking of that choreography - featuring Lorin Latarro's best work to date - it is complex in it uniformity, kaleidoscopic shape shifting, and dazzling in its arm/hand movement, and it is also clever and not without its surprises and sense of humor. "One Night in Bangkok" has never looked better, nor has it ever been as fun and surprising as it is here. It is the "Endgame" sequence - a mini-musical in and of itself - that is a true coup de theater, providing a good ten to fifteen minutes of breathless, spine-tingling musical theater bliss. The roar of approval from the audience at the end must have been very satisfying for the company. What an ovation!

The deceptive austerity of David Rockwell's scenic design and Tom Broecker's costumes are the perfect canvas for David Nigrini's pointed and expansive projections and use of camera work, and Kevin Adams' exciting lighting design. Combined, the technical aspects of this production add more than a few theatrical thrills.

I really can't say anything negative about the ensemble who are a magnificent whole made up of carefully rendered individuals. I will say I was in awe of the um...limberness of the young women (particularly in "Bangkok") and the um...athleticism of the young men in the ensemble. Latarro makes the most of these dancers, giving them plenty to do, always adding to the moving tapestry of the show.

It is, however, the principal company that really makes this show the hit it deserves to be. It's nice to see Broadway veteran Bradley Dean finally in a role he can sink his teeth into, and as fair-weather friend/enemy KGB guy he nails the cold calculated villainy. He is the perfect match for the smarmy, glib and, well, assholery of Sean Alan Krill's CIA operative. These two are nasty in every delicious way, and they are both clearly having a ball doing what they are doing. As the aforementioned Arbiter, Bryce Pinkham is simply terrific, and exponentially better than he was in the previous staging. He can't help the material he has been given, and gives 110% every single second he is on stage. Then there's Hannah Cruz, a standout in Suffs, and a standout here again, who both dazzles and breaks you heart as Svetana, a victim of circumstance and government control. What a voice!

No production of Chess has any chance of success without three outstanding lead performers, and this revival has that in spades. Aaron Tveit is a performer who never disappoints me, and this is no exception. I found his petulant, arrogant, and profoundly wounded take of Freddie to be his most mature to date. Watching him work his way from fetal position to wide-armed soul bearing in his soaring "Pity the Child" was a privilege to witness. Then there's Lea Michele's angry, conflicted and sweetly in love take on Florence, where the actress has never sounded better and has made the role fit her like a glove. Not since "Mama Who Bore Me" have I felt like I didn't want to blink for fear of missing even a split second of either her "Nobody's Side" or "Someone Else's Story." The real highlight of her brilliant performance is her remarkable chemistry with both Tveit and Nicholas Christopher, who, as the Russian Anatoly, is everything you've heard and more. In a genuinely star-making turn, he is the antithesis of Tveit. He is an imposing presence, but not through larger than life actions. Rather, his is a controlled, introspective performance. Oftentimes, it is in standing completely still with the smallest of gestures or just the tiniest change in his facial expressions, that he says the most. And while his "Where I Want to Be" and "Anthem" are amazing, it is his part in the "Endgame" sequence that was worth the entire price of admission. All three are giving performances that people will be talking about for years to come.

It has taken decades for this beleaguered show to return to Broadway. It may never be the perfect show that everyone wants it to be, but what we have now is a wonder all by itself. Miss this one at your own peril.

📸: M. Murphy

ReDISCoveries: Spring Awakening (2006 OBCR)

ReDISCoveries: Spring Awakening

(2006 Original Broadway Cast Recording)

Jeff has kindly invited me to revisit and review some of the older cast recordings in my collection. Every other week or so, I’ll write about a new CD, offering some general impressions followed by my thoughts about each individual song. I continue this week with the 2006 Original Broadway cast recording of Spring Awakening.

This week I return to much more familiar territory with the Grammy-winning recording of this Tony-winning score. I had the good fortune of seeing the original production twice on Broadway, as well as the 2015 Deaf West Broadway revival (also twice) and a nearby non-Equity tour stop. I also listened to this recording almost nonstop when it was released (I had a very long commute at the time!), so it’s safe to say that, probably like many of you, I know these songs very well. Nonetheless, I haven’t listened to it all the way through for quite a few years, so I thought it was time to take it off the shelf for another visit.

My impression of the music remains much the same as it did almost 17 years ago. This score is basically a genre unto itself, neither “Barely Breathing”-style middle of the road pop nor standard Broadway fare. It has hints of both of these styles, of course, but as I listen now I’d characterize it as a collection of Romantic-sounding art songs with a modern folkish tinge.

And this score really is basically a collection of songs, rather unlike the typical post-R&H musical where the story is driven by the songs. Instead, the songs famously express the characters’ internal reflections on what’s happening around them, allowing composer Duncan Sheik and lyricist Steven Sater wide latitude. The lyrics in particular are laden with sometimes inscrutable imagery - unless you happen to have read Sater’s own book explaining them. The effect is enchanting, and almost as enjoyable on a recording as it is in the theater. 

I could probably write a whole series of posts on this score, but in what follows I’ll limit myself to one or two observations (not all of them terribly original) that I had upon revisiting each of the songs.

THE SONGS

I use a star (*) to mark the songs I particularly like, and my overall favorite gets two stars (**).

*Mama Who Bore Me: The first time I saw the show on stage, I was a little disappointed that the short string introduction to this song was only added for the recording. Many visits later, of course I realize that the “cold open” is just as perfect for the live musical as those few bars are for the recording.

Mama Who Bore Me (reprise): It’s quite a move to reprise your opening song almost immediately, but this choral version definitely rocks in its own way! Using the same lyrics to music that overlaps only slightly with the first version, it’s a nice transition from the stark opening scene to the meat of the show.

All That’s Known: It’s very important that we know who Melchior is and what makes him tick as we later witness his world crumbling around him. This “I Want” song casts a spotlight on his dedication to learning and to creativity by juxtaposing it with the stultifying classroom he’s currently stuck in. It’s a very concise way to introduce the character and his ideals.

*The Bitch of Living: This is the first song I heard from the show, and I was infatuated after the first few iterations of the opening vamp. With all due respect to Jonathan Larson and the title song from Rent, this song as close to authentic grungy angst as Broadway has ever come. Moritz may not be the lead role, but it’s the barely contained volatility of John Gallagher, Jr.’s vocals that is the driving force on this recording for me.

My Junk: I have to admit that I didn’t care for this song when I first heard it; it seemed far too light and frivolous in the context of the rest of the score. My opinion changed significantly when I saw it performed on stage, where it’s the perfect accompaniment for a variety of mostly humorous stage vignettes.

Touch Me: This song represents Spring Awakening at its most Spring-Awakening-iest, with most of the male characters chiming in with their own thoughts as Melchior and Moritz discuss anatomical drawings. I love the soaring music of the “where I go” sections, but the lyrics here really are quite difficult to decipher.

**The Word of Your Body: I haven’t heard many people discussing this song over the years, but I think it’s a high point of the uniquely beautiful style of this score. Not quite a duet, it’s rather more like two parallel arias sung by people who are physically right next to each other but psychically worlds apart. Of course, the breathtaking vocals of Jonathan Groff and Lea Michele really help to sell it, too.

The Dark I Know Well: The lyrics here are, for once, not abstract at all; in fact they’re frighteningly direct. This song is chilling enough on the recording, but it’s even more disturbing in the context of the story as told in the stage musical.

And Then There Were None: This isn’t one of my very favorites, but I think this song is exceptionally well crafted. The alternation of the spoken correspondence and Moritz’s increasingly alarming responses is an economical way of characterizing his descent into despair without violating the “rules” of the score.

The Mirror-Blue Night: This trippy little ballad is full of colorful imagery that seems to speak of a desire for sexual release on the part of Moritz and his friends. For me, it’s probably the most forgettable song in the score - indeed, it’s the only one I couldn’t place when I read the song list before listening to the CD.

I Believe: This song deftly conjures a (perhaps spurious) sense of well-being and communal togetherness for the central couple. It gradually spins off into a haze of musical psychedelia not heard on Broadway since Hair.

*Don’t Do Sadness/Blue Wind: This sequence, which poignantly sets Moritz’s nihilism (“Don’t Do Sadness”) against Ilse’s thoughtfulness (“Blue Wind”), is another brilliant demonstration of the show at its best. When the characters talk to each other, they don’t manage to communicate very much; when they sing, they communicate a great deal, but not to each other. Lauren Pritchard shines here as brightly as Gallagher.

The Guilty Ones: On stage, this is the first song of Act Two (before “Don’t Do Sadness”), so it’s slightly out of sequence on this album. It’s sort of a rejoinder to “I Believe,” a personal and communal acknowledgment of the consequences of Melchior and Wendla’s coupling.

Left Behind: Get a tissue ready as Melchior celebrates the memory of his friend, simultaneously driving Moritz’s father to a grief-stricken breakdown. The gentle music and vivid lyrics do their job well here, with the final lyrics (“it whistles through the ghosts still left behind”) foreshadowing the penultimate song of the show.

Totally Fucked: I can certainly understand why this explosion of a song is a popular favorite, and I love seeing and hearing it on stage! Beginning with one of the show’s best punchlines, it develops into a musical orgy of angry resignation, with even the adults joining in. Rarely has the word “blah” been used to better effect as a song lyric.

The Word of Your Body (reprise): At one point I used to think of Hänchen (Jonathan B. Wright) as a rather shallow character who didn’t consider Ernst (Gideon Glick) as much more than a conquest, but this song really gives the lie to that interpretation. In fact, these two are really the only people in the whole show who manage to communicate successfully with each other about what they want. Exceptionally, they even seem to understand each other when they sing.

Whispering: Wendla’s second solo of the evening doesn’t make quite as big an impression as her opening song, but the writers probably thought it important to give this character a reflective scene at this point. I find the music and lyrics slightly pallid in the context of this otherwise vibrant score.

Those You’ve Known: Musically a reprise of Melchior’s first song, “All That’s Known,” here his words draw a path from complete despair to a kind of determination to fulfill his dreams, as he gains strength from the ghosts of his best friends. I have always thought of this as the happiest ending the story could logically have had, although the persistent mournfulness of the music betrays some instability in Melchior’s apparent optimism.

*The Song of Purple Summer: Much more reassuring is this warmest of finales, naturally sung at first by the pure and free spirit Ilse, but soon enough taken up by the full company. For once the varied colors and intricate metaphors that fill the show’s lyrics promise redemption rather than frustration. Even if it all seems a little too rosy in the cold light of day outside the theater, it’s exactly the right endpoint for those of us who have taken this musical journey.

Next time I’ll turn my attention to the 2000 studio recording of Frank Loesser’s The Most Happy Fella - or at least the first CD of the three-disc set

 

BOOK REVIEW: A Purple Summer: Notes on the Lyrics of Spring Awakening

Theatre Book Review.  A Purple Summer: Notes on the Lyrics of Spring Awakening.  By Steven Slater.  Production photos of the 2010 - 2011 National Tour by Tony Snow*.  Published by Applause Theatre and Cinema Books.  Copyright 2012.  Paperback. 87 pages, plus 4 pages of color photos.


Grade: A-


It all started in 1999 with a performance of Porgy and Bess that inspired Spring Awakening's librettist and lyricist, Steven Sater, to write the very first words for the show, "Mama Who Bore Me."  Those first words never changed during the entire genesis of the Tony-winning musical, but as you read A Purple Summer: Notes of the Lyrics of Spring Awakening, you'll find that a lot did change, all for the best.  I can't imagine any director of future productions not using this book as part of their pre-production research and dramaturgy.  The added depth of performance for serious musical theatre actors in future productions of the show could be staggering after they study this work.  Sater offers a serious explication of his work and it is a valuable resource.  What might surprise you is that I don't think that this book will offer fanboys and fangirls (I think they refer to themselves as "The Guilty Ones") much.  The book is definitely one for study, not one for backstage gossip and the like.

The impetus for the book's title:
"The Song of Purple Summer"

That is not to say that there isn't anything about cast members.  One of the more interesting passages details a texting session between Sater and Lea Michele, who had questions about lyrics and the meaning of "The Guilty Ones" just days before the Broadway opening.  And there is a discussion about the "I Don't Do Sadness"/"Blue Wind" sequence that you can't help but picture John Gallagher, Jr. and Lauren Pritchard deep in discussion over just how to play it.  Other things of interest to fans and scholars alike include how some songs were dropped and re-added just before the off-Broadway premiere, how some songs changed characters, and how and why "The Word of Your Body" came to appear three times in the final show.  And it is interesting to contemplate that Gavin Creel was Melchior to Michele's Wendla in an early workshop of the show.  I also found the parts about the collaboration between Sater, Duncan Sheik and Michael Mayer to be insightful and very interesting.

Ilse sings "Blue Wind" (left) and

Hanschen and the Girls in "My Junk"

The text is structured simply: a few introductory words to each number (if at all), followed by the full lyrics, and then Sater's analysis.  The songs are presented in the order of the show, and each are given context for clarity without rehashing every beat of the piece.  Throughout, the author discusses the songs in terms of story and character development.  He also discusses the specificity of the words he chose, and how he has frequently had to work closely with translators in several languages to select words that come closest to his original intent.

The 2010 - 2011 National Tour

I found the breadth of his inspiration and allusions to be astonishing.  His lyrics reference a variety of Shakespeare's sonnets and plays, including Romeo and Juliet, King Lear and The Tempest.  He offers an extended discussion of the parallels (and inclusion of lines from the play) between Hanschen and Ernst and Othello.  Among his other references are the ancient Greek philosophers Socrates, Aeschylus and Plato, and poets and playwrights like Emily Dickenson and Henrik Ibsen.

The Broadway Originals:

Gallagher, Jr., Groff and Michele

So, why is the book titled A Purple Summer?  Well, apparently, "The Song of Purple Summer" is the most enigmatic song in the show, the one Sater has the most questions about from fans and producers around the world.  You will not be disappointed at his examination of the song.  And it answers, indirectly, a question I've always had about the Original Broadway Cast Recording: why aren't the first lines of the song on the CD?  Turns out they were added ONE HOUR before the final preview and "freezing" of the show.  They couldn't be on the recording - it was done BEFORE that final preview!

I read the book while listening to the OBCR CD as I went.  Doing so was very helpful and has really added to my appreciation for the quality of the acting and singing of the young performers, as well as the lyrics themselves.  I am positive that when I see my next production of the show, all of the lessons the book taught me will effect my understanding, appreciation and enjoyment of this modern musical masterpiece.  Not since the Sondheim books has this kind of analysis been available.  Wouldn't it be great to have similar explications for such shows as Light in the Piazza or Once?

(NOTE ON PHOTOS: Only photos of the 2010-2011 National Tour starring Christopher Wood and Elizabeth Judd are included in the actual book being reviewed.  They are, according to the text, by Tony Snow (* I've seen the same pictures attributed to Andy Snow).  I've included pictures of the Original Broadway Cast and the First National Tour  by Joan Marcus as support of my review.  The photo of Mr. Sater is from Getty Images.)



Jeff
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Looking Back: The 2002 and 2007 Tony Awards

THE FINAL NOMINATIONS FOR THE SECOND ANNUAL JKTS AWARDS 

CLOSE ON MONDAY AT 8PM!

CLICK HERE TO NOMINATE YOUR FAVORITES!

As the 2012 Tony Awards approach (just two weeks from tonight!), I thought it might be fun to see where we've been, and how the past informs today...


5 YEARS AGO


COMPANY - 2007 Best Revival of a Musical


Raul Esparza sings "Being Alive" - The winner of Best Revival featured the direction of John Doyle (coming back soon with Merrily We Roll Along?) also featured the Tony-nominated performance of Raul Esparza seen in this clip from the awards show in 2007.  He did not win that night, egregiously in my opinion.  This year, he won't win either because he was snubbed for his star turn in Leap of Faith.






SPRING AWAKENING - 2007 Best Musical


The Company sings a medley of "Mama Who Bore Me," "The Bitch of Living," and "Totally Fucked" - Fun to watch because it is still THAT exciting, and fun to listen to, since they changed the lyrics.  Funny, too, that while they obviously couldn't sing "fucked," they were allowed to sing "bitch" (repeatedly) and not the word "breast"!  Notice a pre-Glee Lea Michele who naturally knows how to deal with the camera... a preview of Rachel Berry! And Awakening's Tony-winning director, Michael Mayer... his Clear Day was all but forgotten this time around...(Bonus: Notice the energetic Kimberly Grigsby conducting in the background.  Do you think she's that bouncy at Spider-Man: Turn Off the Dark?)






10 YEARS AGO


INTO THE WOODS - 2002 Best Revival of a Musical


The Company sings a medley of "Into the Woods" and "Children Will Listen" - Poorly filmed - did the director attend rehearsals? - it is still cool to see some pre-fame folks: Laura Benanti, Christopher Sieber, and a few veterans: Gregg Edelman and the legendary John McMartin, currently in Anything Goes.  And isn't Vanessa Williams a beautiful witch? (And she stayed on pitch unlike Phylicia Rashad on the 1988 Tonys...)  Will Into the Woods be on the 2013 awards show?)




THOROUGHLY MODERN MILLIE -2002 Best Musical


Sutton Foster and Company sing "Forget About the Boy" and "Thoroughly Modern Millie" - The controversy that surrounded the Best Musical win by old-fashioned, traditional Thoroughly Modern Millie over the avant-garde, edgy Urinetown: The Musical, reared its ugly head a couple of years later when the avant-garde, edgy Avenue Q beat out the traditional Wicked.  So, this year, which will it be?  Old-fashioned, traditional Newsies or avant-garde Once?  Ann L. Nathan was in Millie... does that improve the odds for Once?  Will Millie Tony-winner Rob Ashford win for Evita?  And Millie's nominated director, Michael Mayer... his Clear Day was all but forgotten this time around...

Jeff

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In Defense of Glee

Caution: The following blog contains Glee Season 3 plot spoilers.

Much ink and TV time has been spent discussing the Season 2 downfall of Glee.  And many an ultimatum has been thrown around ("If things don't get better, I'm going to stop DVRing Glee!", etc.).  OK, we are now a mere 2 episodes into the new season - a season that creator Ryan Murphy and others have promised would highlight the main characters, and have more focused plot lines.  In other words, Glee 3.0 will try to be more like Glee 1.0, which assumes that Glee 2.0 was all that bad.

The truth, for me at least, is that season 2 was a little uneven.  And it has some of the very best moments of the entire series so far.  Coach Beiste (Dot-Marie Jones).  Sue (Jane Lynch) nurturing Becky (Lauren Potter).  Bullies (Max Adler) dealt with.  Every scene with Brittany (Heather Morris).  Every second Chord Overstreet was on screen.  Artie (Kevin McHale) getting to walk for Christmas.  The Dalton Academy Warblers.  "Thriller."  Gwyneth Paltrow.  Darren Criss.  The return of Finn (Corey Montieth) and Rachel (Lea Michele).  The amazing identify yourself (the t-shirt episode) episode.  And there were some things I could have done without.  Rocky Horror (I don't really care for the show).  Carol Burnett and Sue marrying herself (WTF?).  John Stamos (great guy, lousy encroaching character).  The positives far outweigh the negative for me.



Chord Overstreet as Sam



"Born This Way" (The tee-shirt episode)



"Thriller"


Still, one can understand the "sophomore slump."  Season 2 means it isn't new any more.  The surprises - which often cover the flaws - are fewer.  And writers are damned if they do, damned if they don't.  Trying to change characters can be dangerous.  Too much trying to advance the plots in new directions can be deadly.  And yet, not changing characters and making them grow can be just as deadly.  And if the plots get too repetitive, God help the show.

So, over the past couple of weeks, I've been reading the comments left by people after articles about each of the two first episodes of Season 3 and have looked over the chief complaints about Season 2.  I've narrowed it down to their four main comments about last season and a couple of their thoughts about season three (already)!

1.  There is too much Rachel/Kurt and not enough of the others! 

OK.  There is a lot of Rachel and Kurt (Chris Colfer).  But you go with your strong suit.  They are just that: the most talented, the most complicated, the most broken.  All of that adds up to the most compelling characters.  BUT... let's not forget the transformation of Puck (Mark Salling) into a decent, if challenging, guy.  The emergence of Artie... Two girlfriends!  The football team!  Losing his virginity!  Just about every male solo in New Directions numbers.  Not bad.  How about the "Asian Invasion"?  Mike Chang (Harry Shum, Jr.) is a dancing machine and too sexy for a high school kid... and Tina (Jenna Ushkowitz) backing up everyone - not just on stage, but she's the go-to girl for advice and unity.  The emergence of Santana (Naya Rivera) and Brittany as full, multi-dimensional characters.  Quinn's journey from pregnant teen to top of the high school heap, and her downfall... two interesting supporting characters in Lauren (Ashley Fink) and Sam... two down to earth adults with a major plot line - Kurt's dad and Finn's mom (Mike O'Malley and Romy Rosemont) ...  All of that and still too much Rachel and Kurt?  Hmmmm....



Quinn and Santana



Tina and Mike

2.  More Finn!  More Blaine! 

Let's go back to number one first.  More Finn and More Blaine by necessity means More Rachel and More Kurt.  You can't have your cake and eat it, too...  Finn figured prominently in most of the story lines last season, and Kurt wouldn't have grown without Blaine.  And, gay or straight, isn't it nice that there are two couples who are stable AND interesting (Mike/Tina and Kurt/Blaine).  It is hard to think of any plot that didn't involve one or both of these great guys.

3.  Too much singing and dancing! 

Um, it is about a glee club.  Singing and dancing are what they do.  And you knew going into it that it was also a musical comedy, so characters will burst into non-glee club numbers, too.  Sub-complaint: too many show tunes.  I think it is pretty 50-50.  But... (see below)

4.  The show is not realistic! 

Um, it is about a glee club. Singing and dancing are what they do. And you knew going into it that it was also a musical comedy, so characters will burst into non-glee club numbers, too. 

Not to mention that TV is not supposed to be entirely realistic.  If you want real life watch the National Geographic channel.  For me, Glee is a one hour break from the bad news on TV, the Internet and Twitter, from the lousy government, global economic woes, earthquakes, hurricanes and war.  But, even given the musical numbers, there is a certain grounding to the show that is very much based on reality.  Have you been in a public high school recently?  It is more like Glee than not like Glee. 

And that age old complaint: things get tied up in one or two episodes.  Not true.  But even so, each individual episode wraps up all neat and tidy, true enough.  It is TV, folks.  We need closure before the next show starts!  Not real?  Well, each episode clearly takes place over several days, but is cut to fit in 44 minutes.  And in reality, a lot of high school issues come and go in one school day.  Have you forgotten that?  Still, if CSI can get a DNA test result in 15 minutes instead of a week or more and we can accept that, why can't we believe that a group of kids can spend all day in class, practice sports and cheerleading, and still light, costume and choreograph multiple production numbers a week?  I wish real life worked like that.  I tell you, my job would be so much more fun if me and the other cubicle dwellers dropped our wireless keyboards and burst into a full dance number to "The Brotherhood of Man"!

And the two biggest complaints so far about Season 3?  Here they are:



Coach Beiste, Artie and Emma

 1.  Why West Side Story? 

Well, why not?  It is a show the general public at least recognizes and can draw parallels from.  The cast is ideal for that show.  It is a show high schools can actually do.  (My favorite comment at Rolling Stone asked why they couldn't do something more modern like American Idiot or Rock of Ages?  Well, that would certainly blur the line between show tunes and pop songs.  But can we talk content?  As cool as it would be, the story of American Idiot would never be approved (not to mention all of the language and situational cuts that would have to be made) by a school.  And they have already done most of "the score" of Rock of Ages.  Plus, do we really need to see Mercedes as a madame or Quinn having dirty men's room sex with Puck or another gay character for Kurt to play?  You can't have it both ways...

Rachel and Finn

Kurt and Blaine

2.  There hasn't been enough singing and dancing/where has Finn been? 

Wait... before there was too much singing and dancing?  Now "15 minutes between songs is unbearable?"  How else can we focus on plots that don't concern Rachel directly?  And Finn's lack of being "in front" also allows others to take up some screen time... like Artie, Coach Beiste, Emma and Mike Chang?  Not to mention Mercedes' new boyfriend, Rachel's dad's, Mike's parents, Emma's parents...

Coach Beiste and Mr. Hummel

Will and Emma

It has been exactly 88 minutes into the new season.  We have 20 more episodes to see where everyone ends up.  And with Kurt, Finn and Rachel graduating, I'll bet toward the end, we will see more not less of them.  Still, today's news of the hiring of a new actor who will actively pursue Blaine should make things interesting even if it does mean more Kurt.  And let's not forget The Glee Project winners who will figure into major story lines concerning Brittany, Santana and Puck will take up a lot of screen time, too.  Add more Idina Menzel, a juicy plot for Matthew Morrison, and hopefully an interesting end to the Sue-runs-for-office plot, and I think the outlook is terrific.

One thing:  I really miss the slushies...

I'll bet, too, that no matter what, some people won't be happy.  Too much Sue, not enough Sue.  Too much Rachel, not enough Rachel.  Too much singing, not enough singing.  To you, I say stop watching Glee, or at least stop complaining about it.  If you are taking time to complain, then, one, you care enough about it to express an opinion, and, two, you are still watching it!



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Jeff

REVIEW: Glee: The 3D Concert Movie

Review of Glee: The 3D Concert Movie. 1 hour, 35 minutes. Starring Dianna Agron, Chris Colfer, Darren Criss, Ashley Fink, Lea Michele, Kevin McHale, Cory Monteith, Heather Morris, Chord Overstreet, Amber Riley, Naya Rivera, Mark Salling, Harry Shum, Jr., Jenna Ushkowitz. Special appearance by Gwyneth Paltrow. Choreography by Zachary Woodlee. Directed by Kevin Tancharoen. Rated PG.

Grade for Glee fans: A 

For the uninitiated: watch the show first, then get the concert on DVD.

Being one of only two people in a movie theatre, the other being my friend Mike, helped erase the potentially creepy feeling we might have had being the only adult men at Glee: The 3D Movie Concert. But there we were at a matinee of the film, 3D glasses on, smiling like fools and tapping our feet. The truth is, we are both Gleeks, and we both really enjoyed the movie. Will it convert those who haven’t joined the Gleek ranks? Not likely, since it gives real fans everything it wants, and doesn’t try for any more than that. But it could put to rest any doubt as to the talent of the cast. They are as terrific live as they are on an edited TV program.

This film is a mock-umentary that chronicles the teenage hormones, fragile egos and incredible talents of the New Directions glee club as they hit the “big time” playing to a sold-out arena. Between signature numbers like “Don’t Stop Believin’” “Don’t Rain on My Parade” and “The Safety Dance, “ we bear witness to Rachel’s drive and insecurity, Artie’s bravado and insecurity, and Brittany’s sweet ignorance and lack of insecurity. Plus we get some smiles from Mercedes, Blaine, Kurt, Puck and Santana. And all of it very tongue and cheek, and all with the TV series’ sharp wit and irony. Gone, though, is the “losers are people too” aspects of these characters. Instead, the glee kids of McKinley High School in Lima, Ohio are big stars, basking in the glow and adoration of the masses.

The masses, as director Kevin Tancharoen skillfully reminds us, are the real life Rachels, Finns, Brittanys and Kurts. The people who are or were on the fringe of mainstream popularity in high school, the displaced, the bullied… the losers. In between the fantasy world of high tech Glee concert numbers are real documentaries of the very people Glee aims to entertain and emulate. A little person who is also a championship cheerleader, who used to fear never being seen as just another girl, rises above it all to compete for Homecoming Princess with a cute jock boy on her arm. Then there is young woman with severe Asperger Syndrome, unable to maintain normal friendships or cope with social situations, whose attachment to the character Brittany allowed her to recognize that she could, in fact, find friends who could accept and love her. Meeting the actress (Heather Morris) apparently - unfortunately, we don’t see this meeting - helped her find the strength to not only socialize in small groups, but to attend a Glee concert with thousands. And there is the young man who, in the privacy of his own journal professes his first love for another young man, only to find his life turned upside down when his best friend shares that journal with the object of affection, who in turn shares it with the school. It is now several years later, and the young man who was forced to come out in 8^th grade, has not only survived, but thrived, as a well-adjusted gay man. He pointedly tells us that had he had Glee and Kurt as role models, his life would have been that much easier to cope. Glee, he says with a very appealing low key honesty, validates him, and he hopes, everyone else who is walking in Kurt’s and his footsteps.

I re-read the previous paragraph and can only imagine what you are thinking: of course these hard luck stories are told to support the Glee promotion machine. And maybe that’s the surface explanation for their inclusion. But it also makes one realize that at its heart, Glee is there for all of us who felt like a loser or still do. That idea is also much more subtly supported by the “man on the street interviews” of concert goers, who tell us why they love the show, which characters are their favorites, and how the show touches their lives. Yes, I said “subtly.” Because nothing says “relatable” like shots of the most diverse audience I think I have ever seen - young, old, gay, straight, handicap-able people, parents, teens, small children, and every race on Earth. The pretty “Quinn” girls are there, singing joyfully along with the chubby “Laurens,” the lady killer “Pucks” right next to the refined “Kurts.” And there are legions of fans sporting the signature “defining words” t-shirts from the “Born This Way” showstopper, and the hundreds of Dalton Academy Warblers fans decked out in private school blue and red blazers and striped ties. In short, Glee is blissfully all-inclusive, and even a fantasy concert brings that all-inclusive mass of humanity to its nearest stadium in droves.

And that concert, actually made to feel more “you are there” with its skilled use of 3D filming, is a true Glee-fest, with all of the best numbers from seasons one and two carefully recreated and then amped up to fit the stadium size with special effects that support, but don’t overwhelm the kids we are there to see. To be honest, I would have liked to see more of Kurt (Chris Colfer), Quinn (Dianna Agron) and Sam (Chord Overstreet), but beyond that, fans of the show won’t be disappointed. A fine balance of production numbers and smaller, one-character numbers are presented. Puck’s (Mark Salling) tribute to plus sized ladies, “Fat Bottomed Girls,” is as spectacular for its simplicity as the all out sexy vamping in Brittany’s (Heather Morris) “Slave 4 U” is for its amazing choreography and production values. Gwyneth Paltrow does a guest shot as Holly Holiday, substitute teacher, and her signature, “Forget You,” while Mike’s (Harry Shum, Jr’s) truly breath-taking dancing skills and Artie’s deep soul vocals are displayed in “P.Y.T”. Theatre fans will thrill to Rachel’s (Lea Michele) stunning “Don’t Rain on My Parade,” and future Finch Blaine’s (Darren Criss) lead vocals on “Teenage Dream/Raise Your Glass.” And Mercedes (Amber Riley), Santana (Naya Rivera) and Tina (Jenna Ushkowitz) all shine in fun numbers where they are featured, too.  To a person, the whole cast looks to be having the time of their lives. That joy of performing radiates off of the megaplex screen as it does the flat screen at home.

That a huge arena concert film can still feel as personal as a television program is a testament to the quality of this film. And maybe the best number of the show, “Born This Way” is as exciting to watch as it is heartening to be reminded that we are all, in fact, Gleeks. I had no reason to feel creepy after all.

P.S. - Be sure to stay through the Slushy-filled credits with those 3D glasses on, and stay for the encore number, too. You will not be disappointed.

(Photos and movie logo from 20th Century Fox and Fox Television)

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Jeff
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