Welcome to the 60s

Review: Hairspray Live

The cast of Hairspray Live, led by Maddie Baillio (center)

When NBC announced The Sound of Music Live would premiere on December 5th, 2013, no one was sure what to expect from a contemporary company resurrecting a long dead entertainment format. The resulting telecast wasn't particularly well liked (I maintain it isn't as bad as many people claim), but it was a ratings smash that guaranteed a follow-up. 2014 brought Peter Pan Live, a much better production of a much worse show, while 2015 gave us the often charming but structurally bizarre The Wiz Live. 

Then early this year, Fox's attempt to blatantly cash in on this live musical craze shockingly produced the legitimately wonderful Grease Live, all the more impressive considering it was the network's first attempt at the format. Not wanting to be outdone, NBC doubled down by picking a legitimately great musical comedy in the Tony-winning Hairspray, and smartly (some would say shamelessly) aped Grease Live's biggest innovations: the use of a studio backlot and a live studio audience. Hairspray Live is fittingly NBC's most entertaining live musical to date, although it doesn't quite have the focus or technical precision of Fox's venture.

For those unfamiliar with the original John Waters film, the Broadway musical adaptation, or the 2007 musical film, Hairspray tells the story of Tracy Turnblad, a bighearted and full-figured girl in 1960s Baltimore. Tracy manages to score a spot dancing on her favorite TV program, the Corny Collins Show, much to the chagrin of the show's produce Velma von Tussle and her daughter, Amber. But Tracy soon finds herself drawn to a higher calling as she fights against the racial discrimination of the TV station, all while wooing its resident heartthrob Link Larkin. Cached within the candy colored sets and 1960's nostalgia is a powerful and unfortunately still timely message about fighting racism and bigotry, which lends this feel good fable a huge amount of relevance in the current political climate.

One thing that is readily apparent watching Hairspray Live is what a truly great musical it is. The score by Marc Shaiman and Scott Whitman is one of the finest collections of showtunes from the past 20 years, combining supremely catchy hooks with deft lyrics and harmonic complexity. The showstopping numbers just keep coming, and while the book (adapted for television by Harvey Fierstein) doesn't have quite enough room for both the large number of subplots and jokes, it's so much fun you rarely care. Next to The Sound of Music, this is the sturdiest musical to be mounted on live TV, and that solid construction goes a long way towards keeping everything entertaining.

Hairspray Live is also incredibly well cast, utilizing a combination of marquee names and relative unknowns to create a delightful ensemble of quirky characters. Newcomer Maddie Baillo is charming as Tracy, although an understandable amount of nerves seem to hamper her for the first 15 minutes. Harvey Fierstein recreates his Tony-winning role as Tracy's mother Edna, and it is a treat to watch this veteran musical comedy performer reprise one of his most iconic roles. Martin Short comes across as slightly manic playing Tracy's father Wilbur, but its easy to forgive the excesses of such a giving performance from a such seasoned comic.

Pop singer Ariana Grande throws herself into the role of Tracy's best friend Penny, and while she doesn't quite nail the part's comic timing her earnestness is infectious (and as expected, she can really wail). Ephraim Sykes is supremely confident and charming as Seaweed J. Stubbs, the black dancer responsible for opening Tracy's eyes to the need for a fully integrated Corny Collins Show. And while Dancing with the Stars alum Derek Hough is suitable smooth as the show's host, Disney Channel star Garrett Clayton falls flat as Link. Clayton exhibits exhibiting zero charisma or chemistry with any of his costars, and that lack of star power probably explains why the number "Ladies Choice" was taken from Link and given to Hough, who uses it to really show off his dance skills.

As the villain of the piece, Kristin Chenoweth shines playing ex-beauty queen and unapologetic racist Velma von Tussle. A former pageant girl herself, Chenoweth brings every ounce of her comic might and singing prowess to the role, chewing the scenery in the best way possible during her standout "Miss Baltimore Crabs." Dove Cameron, another Disney Channel star, is also wonderful as Chenoweth's daughter, showcasing an appropriate mean girl vibe and surprisingly strong singing chops. And while she has a relatively minor role, Andrea Martin is hilarious as always as Penny's conservative mother Prudy. (The presence of Chenoweth, Martin, and Fierstein convinced the producers to include the excellent "Mama, I'm a Big Girl Now," a number from the stage show that was cut from the film.)

The true standout of the evening, however, is Jennifer Hudson as Seaweed's mother, Motormouth Maybelle. The Oscar and Grammy-winner doesn't appear until almost halfway through the evening, and her entrance is the jolt of energy the show needs just as it's beginning to flag. Hudson has always been more of a personality than an actress, but her particular brand of sass is exactly what the role calls for, and she subsequently knocks it out of the park. She sounds phenomenal during her first number, so much so that you don't even mind that she is far to svelte to be singing about the joys of being "Big, Blonde, and Beautiful." And her rendition of the power ballad "I Know Where I've Been" late in the second half is simply outstanding, the showstopping highlight of the evening.

With so much talent on display, it's doubly disappointing that the camerawork rarely offers a good view of the action. While cutting between multiple cameras during a live broadcast cannot be easy - especially when the actors are singing and dancing through multiple sets on a sprawling studio backlot - one would expect NBC to have figured out a better way to do it by now, especially since Hairspray Live's director Kenny Leon helmed last year's musical outing as well. The continuous quick cuts often detract from Jerry Mitchell's slickly polished and energetic dance routines, as well as obscuring much of the first class scenery chewing being done by supporting players like Chenoweth. The camera often arrives on a moment either slightly too soon or too late, which combined with the overly dark lighting makes it difficult to really see what's going on.

Overall, Hairspray Live is a highly enjoyable affair, and easily the best overall live musical production to come out of NBC. But four years in it still doesn't feel like the network has entirely nailed the format, which is both disappointing and frustrating. These live musicals are a worthy pursuit for the network, and I honestly hope they continue to be annual events. Hairspray is definitely a move in the right direction, but there's still room for improvement.

The Best Shows of 2015: Part II

With the impending arrival of 2015, it's time to take a look back at the year that was and assess some of the highlights of the year in theatre. I've already shared 5 of my Best of 2015 picks in my previous post, and today it is time to reveal my picks for the Top 5 shows of the past calendar year. As always, this list is limited to productions which officially opened in 2015 and which I actually saw, so think of it more as a personal favorite list rather than a definitive ranking.

Without further ado, here are my favorite theatrical experiences of 2015!

5) Honeymoon in Vegas

Rob McClure (center) and the cast of Honeymoon in Vegas

Jason Robert Brown just can't seem to catch a break when it comes to his Broadway shows. Just like the criminally ignored Bridges of Madison County (my absolute favorite show of 2014), Honeymoon in Vegas was another stellar musical that just couldn't find an audience. Brown's first attempt at full blown musical comedy, this delightful Vegas-set tale featured a brassy, big band score and the kind of witty, tongue-twisting lyrics the composer is known for. The cast was first rate, especially Rob McClure and Brynn O'Malley as the romantic leads, so I couldn't begin to tell you why the well-reviewed show didn't do better at the box office. Maybe it was the prolonged two-month preview period, which made the show seem like old news by the time it opened in mid-January. Maybe it was the presence of Tony Danza in the cast, which many people seemed to mistake for stunt casting even though the TV star actually turned in a rather appealing performance. Thankfully the show received a cast album, and I suspect that like many of Brown's other works this is a show that will be discovered and cherished by many musical theatre fans for years to come.

4) The Color Purple

Jennifer Hudson leads the cast of The Color Purple in a rousing rendition of "Push Da Button."

There are many reason to praise God for John Doyle's absolutely stunning revival of The Color Purple, but perhaps the biggest blessing of this scaled back version is it has allowed critics to see what I saw while rushing the original Broadway production 10 years ago: The Color Purple is a superbly written emotional sucker punch of a show, a harrowing but ultimately joyous celebration of life and overcoming adversity. This production also finally brought Jennifer Hudson to Broadway, something we've all been waiting for since her Oscar-winning turn as Effie White in the Dreamgirls film. And while Hudson is excellent, the talk of the town is sure to be British newcomer Cynthia Erivo, who blows the roof off the Bernard B. Jacobs Theatre as the beleaguered Miss Celie. Erivo inhabits the role with a commanding stage presence that far exceeds her diminutive frame, and her powerhouse voice turns mere songs into soul rattling epiphanies set to music. Even if the rest of the production was garbage, this Color Purple would be worth seeing for Erivo alone. The fact that the rest of the cast often matches her awe-inspiring commitment and intensity makes this easily one of the best shows of the year.

3) The Hunchback of Notre Dame

Michael Arden and Ciara Renee in Paper Mill Playhouse's The Hunchback of Notre Dame.

The best Disney Theatrical show I've ever seen didn't even make it to New York, instead playing across the river in New Jersey's Paper Mill Playhouse. The long-rumored stage adaptation of Disney's Hunchback of Notre Dame took the most problematic film of the studio's Animation Renaissance and de-Disneyfied it, returning to the darker, more melancholy tone of Victor Hugo's original novel. This approach made all the difference, resulting in a decidedly adult show that didn't shy away from the nastier implications of this Parisian-set tragedy. In providing the villainous Claude Frollo with more morally complex, clearly defined motivations, he actually emerged as an even more monstrous and menacing villain than the cartoonishly evil character in the film (a quality augmented by Patrick Page's excellent performance). And let's not forget Michael Arden's wonderfully effective and thrillingly sung take on the title character, nor Ciara Renee's beguiling gypsy Esmeralda. I ultimately understand Disney's decision not to move the show to Broadway (it is not one of the family-friendly spectacles the company has become known for), but that doesn't lessen the sting of the show's all too brief run. I'm just glad I made the trek out to Jersey before it closed.

2) The King and I

Tony-winner Kelli O'Hara and Tony-nominee Ken Watanabe in Lincoln Center's The King and I. I'll say it again: TONY-WINNER KELLI O'HARA!

Simply glorious. That's the best way to describe the absolutely transcendent Lincoln Center Theatre production of Rodgers and Hammerstein's The King and I, one of the most lavishly produced and lovingly crafter musical revivals I've ever seen. From the second the radiant (now Tony-winner!) Kelli O'Hara makes her entrance on the imposing prow of her ship to the final tableau of Anna and the King of Siam surrounded by the next generation, this expertly handled production remains riveting throughout its three hour runtime. Director Bartlett Sher's genius lies in his ability to radically alter the way a show is performed without appearing to do anything at all, to the point where you leave the theatre convinced his take on the material is what the authors had always intended. This King and I functions as both a family friendly musical entertainment and a highly complex character drama, directly tackles issues such as female empowerment and the nature of rule while providing all the eye-popping visuals audiences have come to expect in a modern musical. Anchoring it all is O'Hara and the supremely talented cast, which also includes the hypnotic Ruthie Ann Miles as the King's primary wife, Lady Thiang. This is as good a production of the Rodgers and Hammerstein classic as we're ever likely to see, and it will hopefully run for a good long while.

1) Hamilton

You know your show has a devoted following when a minor character like Peggy Schuyler (who has maybe 10 lines total) has her own rabid fanbase.

How could anything but Hamilton top my list of 2015's best shows? Lin-Manuel Miranda's hip-hop magnum opus has dominated Broadway websites for the better part of the year, while also crossing over into pop-culture in a way few musicals ever do. Yet the reason Hamilton tops my personal list is not its record-breaking financial success, nor its near ubiquity in the theatrical conversation. The show earns the title of Best Show of 2015 due to the fact that when you strip away all the hype, you are left with a near-perfect piece of theatrical writing, brazenly adventurous and yet hugely respectful of all that has come before. The score is a compulsively listenable work of genius, instantly captivating and yet so richly nuanced that new surprises reveal themselves with each repeated hearing. The cast is simply astounding, from Miranda's commanding performance in the title role to Leslie Odom, Jr.'s star making turn as Aaron Burr to the scene stealing Daveed Diggs in the dual roles of the Marquis de Lafayette and Thomas Jefferson. And let's not forget Phillipa Soo's deeply felt performance as Eliza Hamilton or Renee Elise Goldsberry's revelatory (and Tony-worthy) work as Eliza's sister Angelica. Everyone from the top billed stars to the ensemble - one of the hardest working group of dancer/singers on Broadway - give 110% from start to finish, executing Thomas Kail's brilliant staging and Andy Blankenbuehler's hard-hitting choreography flawlessly. Do whatever you have to secure a ticket and witness theatrical history being made, as Hamilton may well prove to be the Best Show of the Decade.


And that wraps up my look back at the Best Shows of 2015. Looking back, the breadth of the type of shows which have been produced, and their artistic daring, gives me great hope for the future of the industry. This is a year where producers took some major risks, and many of them paid off not only artistically but commercially. An intimate musical about a lesbian coming to terms with her closeted father won the Tony and turned a profit, and a hip-hop musical with a multi-ethnic cast has become the most critically and commercially successful musical in years. Here's hoping for a 2016 that is equally varied and artistically ambitious, and be sure to keep checking Broadway Etc. for coverage of all the latest and greatest the New York theatre scene has to offer.

Happy New Year!

She's Here, and Not to be Ignored

Review: The Color Purple

Cynthia Erivo (center) and the cast of The Color Purple.

Near the end of the rafter rattling opening number of The Color Purple, protagonist Celie gives birth. In keeping with helmer John Doyle's minimalist directorial concept, actress Cynthia Erivo symbolizes this act by pulling a plain white sheet from underneath her dress and slowly, methodically folding it into the shape of a newborn in swaddling clothing. And right before our eyes, this plain white sheet becomes the living, breathing object of Celie's unconditional love thanks to the actress' unmatched level of commitment. Erivo holds this sheet as if it is sacred, staring lovingly into eyes that aren't there and conjuring up a living, breathing child through sheer force of will. This type of primal theatrical magic permeates Doyle's sensational staging, and this opening tableau gives us our first indication that Erivo's performance is one for the ages.

For those who have yet to experience The Color Purple in any of its many forms - including Alice Walker's original Pulitzer Prize-winning novel or Stephen Spielberg's Oscar-nominated film adaptation - the narrative details how the constantly abused Celie slowly learns to love herself and her life, no matter how difficult her circumstances become. The plot tackles such weighty issues as rape, domestic abuse, and the ever-present specter of racial oppression before arriving at its ultimately uplifting, life-affirming climax. Like the novel on which it is based, this adaptation deftly avoids becoming maudlin or preachy thanks to a first rate book by playwright Marsha Norman and a powerful, gospel-influenced score by Brenda Russell, Allee Willis, and Stephen Bray. Only the most stone-hearted audience members will remain unmoved by Celie's journey, and even though the story's resolution is clearly telegraphed from early on that doesn't make the denouement any less affecting when it finally occurs.

The show's original Broadway incarnation received mixed reviews, ostensibly due to the distraction of the large physical production but more likely because despite what we claim to want New York critics are generally unforgiving of new work. Thankfully director John Doyle's stripped down production is so focused on The Color Purple's powerful narrative you cannot help but recognize its raw, visceral impact. Doyle's staging is lean and muscular, conceptual in a way that draws the audience in rather than pushes them away. The simple wooden set, comprised of a few platforms and an imposing wall of chairs, feels intensely personal, as if we and the other characters have been graciously allowed into the uncharted waters of Celie's psyche. Only a few times does Doyle's direction veer into pretentiousness - his handling of the ballad "What About Love" feels particularly heavy handed, and blunts the impact of both the song and the major plot reveal that occurs immediately afterwards - but the Scottish-born director also provides the show with such a singular vision that he must be commended, even for the choices that don't quite work.

He has also found a genuine star in Erivo, whose towering performance in the central role provides this production with its heart and soul. Despite near-constant abuse by the men in her life, Erivo's Celie remains a magnificent creature with an almost regal air about her. Erivo nobly endures the many injustices foisted upon Celie and her loved ones, slowly internalizing her character's anger until it threatens to consume her. With Erivo's piercing, powerful belt voice, Celie's many solos become plaintive wails for attention, the anguished cries of a woman who doesn't know how else to express her overwhelming frustration with life. This Celie is a powder keg waiting to explode, and when she finally hits her breaking point in Act II it is both cathartic and terrifying. And yet Erivo smartly keeps an undercurrent of kind-heartedness and even optimism running throughout her performance, providing the foundation for her soul stirring rendition of the show's eleven o'clock anthem "I'm Here." Erivo is the real deal, and by all accounts the multiple standing ovations she earned at the performance I attended are a regular occurrence.

The production's other above the title star is Oscar- and Grammy-winner Jennifer Hudson, making her long-awaited Broadway debut in a performance that is both everything you might have hoped and entirely unexpected. Hudson plays Shug Avery, the free-spirited lounge singer who wheels into Celie's life and completely upends it for the better. Hudson's vocals are every bit as powerful live as they are on CD, but the most impressive thing about her handling of Shug is how often she chooses not to strong-arm her way through the musical numbers. The score provides Shug with several its most beautiful ballads, and Hudson proves her maturity as both a musician and a performer in the way she caresses and croons them. She has enough confidence to know she doesn't have to belt every note, which makes the moments when she does cut loose all the more thrilling (her rendition of "Push Da Button" will leave you breathless). It must be admitted that Hudson remains a better singer than actress, but she is nonetheless effective during her book scenes, and her refusal to rest on the laurels of her famous name and window-rattling voice is much appreciated.

Isaiah Johnson is something of a revelation in the role of Celie's abusive husband Mister. He is often the villain of the piece, although one of the many joys of The Color Purple is that it refuses to pigeonhole any of its characters. And Johnson is legitimately scary as he paces the stage, looking ready to pounce on Celie and her compatriots at any second. But from early on Johnson makes it clear that Mister's rage stems from his disgust and frustration with his own life, and he completely sells the character's emotional epiphany during "Mister's Song." Danielle Brooks is a force of nature as Sophia, who marries Celie's stepson Harpo and is the first woman to show Celie she doesn't have to blindly accept whatever injustice the men of the world dish out. Sophia's defiant anthem "Hell No" has always been a crowd pleaser, and in Brooks' hands remains one the show's musical highlights. And in the small but pivotal role of Celie's sister Nettie, Joaquina Kalukango is just about perfect.

The one misfire among the principal cast is Kyle Scatliffe as Harpo. Scatliffe seems content to let the cognitive disconnect of a man with his towering frame being dominated by much smaller women provide most of his characterization, failing to do anything with the multitudinous other possibilities the text provides him. This ends up undermining not only his character but Brooks' Sophia as well; it is extremely difficult for Sophia to provide Celie with an example of a strong woman standing up to her husband when Scatliffe's Harpo is such a wet blanket that seemingly anyone can cause him to throw in the towel. The only part of Scatliffe's performance that makes an impression is his Act II duet with Brooks, "Any Little Thing;" it's a shame the actor hasn't figured out how to bring the playful, loving confidence he displays there into other sections of the show.

But if the worst complaint that can be leveled against The Color Purple is that Scatliffe's Harpo isn't very interesting, then overall things are going extremely well. This is a powerful piece of theatre whose deeper themes and lessons are highlighted and underscored by John Doyle's simple but effective direction. He has removed anything resembling bloat and focused entirely on the emotional journey of Celie, who is a more clearly the protagonist here than in the show's original incarnation.  It helps that Doyle has the phenomenal Cynthia Erivo in the central role, with the actress providing an endlessly fascinating, superbly acted and sensationally sung take on Celie that will have you rooting for her throughout the duration of the evening. Jennifer Hudson, Danielle Brooks, and the majority of the supporting cast all provide able bodied support, and even Scatliffe's Harpo is more of a missed opportunity than an outright problem. A production of this level of polish and emotional impact is a blessing, and every theatregoer should be grateful for it.

The Long Road to Broadway

Review: Smash Season 2 Premiere

Jennifer Hudson and Katherine McPhee prove that once upon time, American Idol actually produced marketable talent.

NBC had a lot riding on Smash, the big, expensive musical drama about the creation of a Marilyn Monroe musical called Bombshell.  After a stellar pilot, the show somewhat undeservedly became one of the most mocked pieces of entertainment in pop culture, resulting in the firing of creator/showrunner Theresa Rebeck and several major cast members.  Following an extended hiatus to accommodate the show’s retooling, Smash has finally returned with a two hour premiere that largely resembles last year’s incarnation, although under the surface lurks a host of subtle but significant tweaks with the potential to radically increase the show’s overall quality.

Season two of Smash picks up right where season one left off, with the cast and creative team of Bombshell eyeing a Broadway transfer after a largely successful run in Boston.  Karen (Katherine McPhee) received glowing reviews for her performance as Marilyn, while critics also singled out director Derek (Jack Davenport) and composer Tom (Christian Borle) for their many contributions.  Unfortunately, the press wasn’t so enamored with Julia’s (Debra Messing) libretto, and the behind the scenes shenanigans that plagued Bombshell’s development now threaten to overshadow the final product.  Meanwhile poor Ivy (Megan Hilty) finds herself struggling to get back in Karen’s good graces after sleeping with the rising star’s boyfriend, a move that has caused the entire creative team to give her the cold shoulder.

One thing new showrunner Joshua Safran has repeatedly promised is that Smash 2.0 would focus more on the backstage drama and less on the character’s soapy personal lives.  The season premiere certainly supports that statement, with all unresolved interpersonal plotlines wrapped up by little more than a wave of the hand before new show-related conflicts are introduced.  While this is a welcomed bit of house cleaning, it eats up a large portion of the premiere’s first hour and makes that episode feel like a repeat of the misguided tonal shifts perpetrated under Rebeck’s guidance last year.  In fact, the first hour is so hamstrung by having to clean up last season’s mess that I’d wager the decision to have a supersized premiere was driven primarily by the network’s desire to trot out the second episode as a better example of what season two has in store.

The new storylines introduced during the premiere are actually quite interesting, and executed with a more consistent tone and pace than we’ve previously seen.  The Rebecca-inspired financial woes Bombshell encounters show promise, and illustrate that Eileen (Anjelica Huston) should really be more suspicious of her bartender boyfriend’s extensive bank account.  Having serial womanizer Derek hit with a succession of sexual harassment lawsuits is a stroke of genius that makes excellent use of the delightfully smarmy Davenport, and the addition of Jennifer Hudson as a Tony-winning actress/inspirational figure for Karen brings with it a welcomed dose of spunk and genuine star wattage.  (As expected, Hudson’s musical numbers are positively thrilling.)

But the storyline with the biggest implications for Smash’s future is the introduction of a competing musical being developed by struggling Brooklyn songwriters Jimmy (Jeremy Jordan) and Kyle (Andy Mientus).  It accomplishes the hat trick of providing a point of contrast by which to judge Bombshell’s progress, creating conflict by offering the possibility of key cast members jumping ship, and making Smash’s world seem more alive by not having Bombshell exist in the vacuum.  Bad-boy Jimmy also makes an intriguing love interest for Karen by virtue of being the only person who doesn’t immediately worship the ground she walks on, although right now the character is so aggressively off-putting it somewhat negates any narrative appeal he provides.

Speaking of Karen, the struggling artist from Iowa has emerged as the show’s most problematic character, a handicap made even more maddening by the fact that she is clearly intended to be Smash’s protagonist.  Her experience in Boston has replaced her wide-eyed naivety with an unearned sense of entitlement, resulting in diva-esque behavior that makes her increasingly hard to root for.  Karen now treats Ivy with the same disdain Ivy exhibited for poor, sweet Karen in season one, but whereas Ivy was eventually scolded and told to tone down her hatred the other characters are inexplicably willing to support Karen’s vindictiveness.  On the plus side, this has allowed Ivy to revert back to the insecure but likably ambitious woman she was in the pilot, becoming a much more compelling character in the process (and her budding friendship with Julia certainly doesn’t hurt matters).

Overall, the first two hours of this season of Smash give us a show that is slowly but surely recovering from the dark days of Bollywood-inspired fantasy numbers that marked season one’s low point.  The show still has its quirks, including an eye-roll inducing transition into a Derek-centric musical number and a couple of highly implausible plot contrivances (Karen is apparently the only actress in New York who still lists her physical address on her resume).  But many of last season’s most glaring problems are conspicuously absent – although I fear dearly departed Ellis may reappear further down the line – and replaced with a slicker, more coherent tale of backstage politics and rival projects.  The show has a vast untapped potential, and hopefully Safran and crew can harness it to create true must-see TV as the season progresses.

Podcast Episode 9: "Smash"-travaganza Season 2

Tonight's the night!  In honor of the highly anticipated return of NBC's musical drama Smash, the podcast discusses the announced changes for the new season and whether they will help or hinder the famously uneven show.  Do a new showrunner, a new musical (the younger, hipper Hit List), and the addition of Jennifer Hudson sound like music to Jared, Jessica, and Spencer's ears?  Find out below.

Podcast Episode 8: "Smash"-travaganza Season 1

Next week marks the much-hyped return of NBC's backstage musical drama, Smash.  In anticipation of this momentous event, Jared, Jessica, and Spencer sit down to discuss the strengths and flaws of the show's first season. Given the multitude of characters and abandoned storylines, there's plenty to discuss, and hopefully they can do it in a way that's more coherent than an awkwardly inserted Bollywood fantasy number. And be sure to tune in early next week for the Season 2 preview