Tag Archives: Heather Morris

Glee Whiz

Not with a bang, but a whimper…

I should have known better than to have been too jazzed to see the cast of Glee take on Rocky Horror. Like many, I fell for the promo clips and well-distributed cast photos and falsely assumed that they would really take a…um…bite out of the classic musical. And when the show opened with those lips and almost a full take on “Dammit Janet“, I thought maybe they were going to really pull out the stops this time. It’s not like there is a shortage of great songs in that show – hell, they’re all great.

But sadly, the sappy melodrama that is Mr. Schuester dragged the whole thing down into the mess that is his character’s personal life. I’m not certain what the motivation is behind that character arc, but what was once a sympathetic and likeable character has quickly become a wimp, a loser, and finally, a cad. If they’re trying to tell us that even an adult can suffer like a high school student, stop – we get it. Lately when Jane Lynch isn’t shredding the room with her Sue Sylvester quips, there are only two reasons to watch the show these days, and they’re named Kurt and Brittany. Chris Colfer and Heather Morris never fail to hit it out of the park. More of them, please, before it’s too late.

Frankly, the best moment of the night was having the camera pan past Barry Bostwick and MeatLoaf (for those who don’t know, they played Brad and Eddie in the film). A more courageous show would have left it right there, a perfect sight gag, much like the camera panning by The Three Stooges in fireman gear in It’s A Mad Mad Mad Mad World. Instead they tried to milk it in a follow-up scene where they played soulless network execs trying to stir controversy out of the production. Amusing, yes, but an overplayed hand.

Not that the casting matchups were bad. Lea Michele aped Susan Sarandon’s voice (as opposed to her usual Streisand channeling) but was overshadowed by Cory Monteith’s dorky take on Brad (not far from his Finn character). Chord Overstreet (yes, that’s a real name) looks so much like the original Rocky character it’s as if he was hired just for this episode.

In the line of the night, Artie suggests that he plays “the guy in the wheelchair”, and John Stamos even got to wear his Elvis “Comeback Special” catsuit and belt out “Hot Patootie” (in B flat, mind you!). And while Amber Riley (Mercedes) flexed her always-great pipes on “Sweet Transvestite”, the modernization of the song (let alone the neutered lyrics) fell flat.

Overall the ensemble did a nice job on “Time Warp”, with Santana and Brittany frighteningly well cast as Magenta and Columbia, and Kurt finally got to flaunt a little Riff Raff. But did we really need the downright creepy scene between Scheuster and Emma in place of remakes of classic scenes from the film, let alone full versions of the songs? Not only was it completely out of character for Emma to behave as she did, but thanks to that lame subplot we never got to hear “Rose Tint My World” or “Eddie” or “I’m Going Home”. (Remember, the rule is more Kurt and Brittany…)

So a couple of bright spots, but mostly underwhelming. Hey, if they could suck it up and go to the wall for Madonna, they could have paid just as much respect to Rocky Horror. Just sayin’.

Lesson learned again – like most times, stick with the originals. And if you can’t do that…well. it’s midnight somewhere – get thee to a theatre!

The Rocky Horror ShowOriginal cast soundtrack

Rocky Horror Picture ShowOriginal film soundtrack

Yes, that was Santana.

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Rocky Horror Glee Show

There are some things that I’ll never understand.

I don’t get the fascination people have with reality television and celebretards. Nor do I get why there have been seventy-six editions of the Now That’s What I Call Music series to date, with no sign of stopping.

I also don’t understand how the CD releases from Glee have sold over five million copies so far, presumably to the same people who watch the show religiously. They’re simply collections of cover songs, organized by theme or artist, marketed to the same people who watch the show and buy the DVDs. (And Gleeks, you know that you are buying the DVDs and all the CDs.) Television hasn’t sold music this well since The Monkees.

The songs are well produced and arranged, of course, and the vocals are usually very good but (1) they’re usually straightforward covers, not reinvented arrangements and (2) the thrust of the show is the melodramatic, over-the-top theatrical production surrounding it. You’re not capturing that on an audio CD.

But I soon might have to make an exception.

 In October, Glee will broadcast a Rocky Horror Show episode. After wading through terrible rap tunes, Lady GaGa drivel, overblown Journey crap and an entire episode of Madonna dreck (saved only by the brilliant Jane Lynch performing “Vogue“), I’m thrilled that the majestic, fantastic Richard O’Brien opus will get its due. Hell, thirty five years later it’s still an iconic classic whose songs never fail to get me going…high praise after dozens of post-midnight screenings with props and audience participation.

The full track listing for  ”Glee: The Music, The Rocky Horror Glee Show” is as follows:

  1. Science Fiction Double Feature
  2. Damn It, Janet
  3. Whatever Happened To Saturday Night?
  4. Sweet Transvestite
  5. Touch A Touch A Touch A Touch Me
  6. There’s A Light (Over at Frankenstein Place)
  7. Time Warp

Glee has had three consecutive number one album releases and I suspect this will be their fourth. Hell, I might even have to break down myself and grab one.

I think my cat is reading my diary.

Meantime, tonight I will survive an onslaught of Britney Spears horse shit just for the ability to see the incredible Heather Morris (who plays Brittany, the dimmest bulb on television) get her turn in the spotlight. That should hold me over until Neil Patrick Harris returns for another guest spot.

Admittedly, my initial enthusiasm for the show has waned, but Lynch and Morris are consistently funny and the dynamic between gay Kurt and his dad (Mike O’Malley in a flawless performance) is some of the best work on TV, period.

And please…can Tim Curry make an appearance on October 26th?

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