The power may have been lost at McKinley High on FOX's hit musical dramedy series Glee last night, but there was no shortage of mega-wattage musical magnificence to set the night alight anyway - particularly for the Broadway babies among us, given the major tributes to A CHORUS LINE and ANNIE. Yes, indeed, "Lights Out" was Glee at its very best. Oh, yeah - and Frida Romero, too (you read that name right)!
At The Ballet, Hey
Written by series creator Ryan Murphy and directed by series stalwart Paris Barclay, last night
Glee presented one of the finest episodes in the generally strong fourth season of the series and also one of the crowning achievements of the series to date - and, in more ways than merely one. First of all, the aforementioned musical theatre homages were both absolutely spot-on and superbly integrated into the drama, comedy, rhythm and nature of the episode - but, more on those later. The message of last night's episode centered on a controversial but all-too-applicable topic to be addressed by a series as socially conscious, button-pushingly provocative and culturally inciting - pop culturally, as well - as
Glee undoubtedly was and remains to be, lo, nearly ninety episodes into its run.
GLEE 4.0 has certainly tackled some touchy topics, but none so pertinent to so many in the audience as the subject of molestation - particularly that that exists between adult and child. Ryder (Blake Jenner) confessed to a pre-teen molestation incident previously in his youth following a heartfelt musical evocation of his heretofore repressed feelings now fully revealed in a worthy and movingly sung rendition of R.E.M.'s "Everybody Hurts". So, too, did Sam (Chord Overstreet) score in his own solo musical spot - gorgeously rendered byway of a sparsely orchestrated reinvention of the Righteous Brothers's "You've Lost That Lovin' Feeling", with some back-up help from Ryder, though it did not elicit tears like Ryder's did.
While the treatment of the pivotal dramatic moments of the show may have made some in the audience uncomfortable given the awkward reception by the gleeks and the ensuing comments given, it is an integral element to consider when discussing the issue at large - that is, the simple fact that males are sexually abused in almost equal measure to females, some say more, and many cases go unreported, are stigmatized and the topic itself is rarely discussed. So, once again, leave it to
Glee to bring a caring conscious to go with the outrageous comedy, progressive attitudes towards sexuality and gender roles and all of those musical numbers that keep us coming back, week after week, year after year - as well as everything else. Could it have been better? Maybe, but it really made a point and made it stick - with the further revelations by a certain female cheerleader illuminating in their content and sensitively rendered depiction, too. Jenner should be commended for his speech - he did marvelous work in this episode and is the undisputed MVP of GLEE 4.0 thus far.
It must be mentioned that, since the last entry in this ever-growing critical consideration of
Glee that has analyzed and celebrated the show since its debut,
FOX has at long last announced that the series is renewed for not one, but two more seasons - that is,
Glee 5.0 and 6.0 are on the way! Therefore, I must say that this year's Pink Full Moon could not have fallen on a better date, or the news fallen on the eve of a better GLEE - "Lights Out" shone.
Yes, indeed, "Lights Out" was a simply stupendous hour of television, juggling the Lima, OH, and NY, NY storylines expertly while still making a major thematic point and hopefully opening the door for a few real world troubled teens to reveal their abuse to those they trust and love the most. And, as always, it gave all of us yet one more reason to appreciate the power of music in instigating conversations and stirring up emotions very likely impossible to conjure otherwise. After all,
Glee is about the persuasive power of music and performance in helping us all to work through our issues, celebrate our successes, analyze our misery and search for - and, just maybe, find - a shred of transcendence in it all. Indeed, you don't have to believe in God to believe in
Glee - and, in doing so, the power of forces beyond our understanding, control or even perception. Such is the magic of music - and songs.
Glee exploits that magic for all it is worth - and more.
Case in point: besides "Little Girls" from ANNIE - more on that in a moment - this week's
Glee gave us an emotional and powerfully played series highlight in the form of A CHORUS LINE's "At The Ballet". What more could we possibly want? Wow. Michael Bennett would have been proud, wouldn't he?! Set at the actual New York City Ballet, the trio was expanded to a foursome - with a minor tweak adding an "Izzie" allusion for recurring S4 guest star Sarah Jessica Parker's Isabelle character, with the rest authentically rendered by Rachel (Lea Michele), Santana (Naya Rivera) and Kurt (Chris Colfer) - this was a showstopper for the
Glee record books. Note-complete, word-complete and expertly evoking the at turns heartbreaking, heartwarming and heartrending content of Edward Kleban's striking and searing lyrics and Marvin Hamlisch's incomparable music for them all, "At The Ballet" packed a significant punch and dared overshadow the other musical moments of the ep - and, no doubt, it very well would and could in a lesser episode - yet, it was the perfect musical moment at the perfect time, both in the episode and season as a whole, collectively considered. We had a similar heavenly foray last episode, as well, as a matter of fact. We're lucky. All in all, this episode really hit all the right spots, though - Sue 90x to guffaw-worthy LES MIZ/Javert joke to Hoosiers Daddy's Frida Romero (first glimpse of guest starring
American Idol standout Jessica Sanchez). Who else but Ryan Murphy would include such a loving wink to a musical theatre icon as "Frida Romero" (a pun on EGOT-recipient Rita Moreno)? No one.
Back at McKinley High, the CATFISH subplot was further developed, with the red herring of Kitty (Becca Tobin) thrown into the mix. Or, could it be Unique (Alex Newell)? Tina (Jenna Ushkowitz), maybe? It couldn't possibly be straight-as-arrow studs Artie (Kevin McHale), Jake (Jacob Artist) or Sam (Chord Overstreet), right? Plus, Blaine (Darren Criss) is still very much attached to Kurt, although he is far, far away in the Big Apple these days. Brittany (Heather Morris), perhaps? Someone else entirely - Becky (Lauren Potter)? Hmm. Well, whoever it may be is still very much up in the air at this late date. It's anyone's guess.
Breathing life into a beloved
Billy Joel tune and rocking out with a Queen anthem is par for the course for GLEE, yet "We Will Rock You" gave Artie, Blaine and the New Directions a Freddie Mercury moment to shine in - complete with mostly entirely recyclable instruments accenting it, natch. Hey, it was a power outage, after all, so no obvious way to juice up the amps except with some naturally generated electricity! Billy Joel's "Longest Time" was a pop confection befitting the conclusion of the music-heavy and emotionally packed ep, sending us back out into the cold, real world from the always endearing and warmly welcoming universe of
Glee with a smile and a song in our hearts, ears, and just maybe, spirits.
Some say pop music is the soundtrack of heaven, and, if that is the case, then it must be somewhat similar for Broadway babies - except, in a clearly demarcated celestial exception, the accompaniment of choice would be cast albums for us, of course. And, two cast albums essential to any serious theatre aficionado's collection undoubtedly are ANNIE and A CHORUS LINE - two seminal shows of the 1970s. Two of the best, to boot. We already covered "At The Ballet", so that leaves one more...
While Sue Sylvester (Jane Lynch) has had a few musical moments so far on GLEE in which to strut her considerable stuff - I mean, shall we ever forget her inimitable
Madonna send-up in "Vogue" or the duet with the pop icon herself on Olivia Newton-John's "Physical"; lest we forget her take on Nick Minaj's staccato rap "Super Bass" earlier this season - dare I say that never has a number of Sue's on the show been as ingeniously integrated into the plot of the episode and the fabric of the season as a whole than "Little Girls" was last night. Exceptional.
Incidentally, ANNIE's Miss Hannigan anthem is a song which, I should add, had its world premiere in this very column earlier this week; the seventh Glee world premiere of its kind. Judging by this sterling new rendition of the song originated by Tony Award-winner Dorothy Loudon in the original Broadway production, and, later, by the actress who portrayed Sue Sylvester's mother on Glee in seasons past - none other than legendary comedienne and performer Carol Burnett; byway of John Huston's beloved film adaptation of the Charles Strouse/Martin Charnin musical - Lynch has the makings of a masterful Miss Hannigan. Only time will tell, but Lynch starts performances in the James Lapine revival of the popular musical at the Palace Theatre next month, so very soon you will have your chance to catch musical theatre history in the making when the GLEE star makes her big bow on the Great White Way. Don't miss it!
By the way, if you missed this week's SOUND OFF World Premiere of Jane Lynch's "Little Girls" be sure to check it out
here!
GLEE's "Lights Out" was an all-out showstopper of an ep and a surefire delight for any - and many - Broadway babies among us. And, once again,
Glee reminded us that, hey, everything can beautiful if we let it be, even if for only one hour a week. Now, would you like to dance?
Photo Credits: FOX, Twitter
