The Prince of Egypt Hits London: That DreamWorks Money Though!by Randi / March 10, 2020It’s Theatre Thursday! Today’s show is City of Angels, playing at London’s Garrick Theatre after a transfer from the Donmar Warehouse.
The 1989 musical City of Angels may feel just like a 1940s noir film, but the intrigue and twists are all in cheeky good fun. And the new production in London’s West End is definitely good fun. While the great Cy Coleman’s score is less than great, this well directed, inventive production betters even the less exciting parts. The cast seems to delight in Larry Gelbart’s funny, clever book, and it’s all around a great time – if you have the right seat, in a theatre where at least half the seats are garbage.
City of Angels tells the story of a LA writer named Stine (a fantastic Hadley Fraser my goodness) who is working on the film adaptation of his acclaimed novel. As he writes in real life and deals with a wife he cheats on but it’s NBD and a girl he has affairs with but it’s NBD and a Hollywood producer who’s an ass and it’s a BD, we also see the pages he’s writing come to life, with his characters acting out the plot as Stine works on it (with hilarious effect when he deletes and redoes something). Despite being in his imagination, the characters in his story feel real, and the barrier between real life and fiction break down when Stine interacts with his leading man, Stone (a great Theo James, yes that one, such stage presence, very wow), in the most fun parts of this show.
With this super clever, original premise comes tons of humor and creativity, and this production is probably the best we’ll see of this show. The direction is almost flawless (see below) and everything feels purposeful. I never really call out the lighting in a show, but the lighting design here is everything. Stine’s real Los Angeles life is lit in color, whereas the scenes from his script are mainly in black and white, an effect that was impressive as hell when both worlds would share the stage simultaneously, and extraordinary as Stone and Stine toy with the barrier between them. Those clashes between the two S men play out to pretty much the only big song in the show, “You’re Nothing Without Me”, overused a bit as it closes both acts but when it’s the main theme as well as the only strong song for our leading men – and lets Fraser do his main job in this show, which is belting and holding big final notes to impress you and distract you and it works because man alive he is some shit – you can’t fault that use too much.
And yes, while the clever book mostly delights, the score somewhat pales in comparison. There are some strong songs in addition to the aforementioned, like Stine’s wife’s “It Needs Work”, a clever almost patter sort of song that Rosalie Craig does brilliantly. (Craig only plays characters named Bobbi I guess now, and this underwritten one is as satisfying as the previous. (That sounds like a huge compliment since everyone and their mother loved the famous gender-flipped Company but recall that I did not.)) It shows off her acting ability fantastically, but like a lot of the score (save for Hadley’s big belted notes) it doesn’t allow for showing off vocal ability. The only real chance for that comes from Rebecca Trehearn’s “You Can Always Count on Me”. Accustomed to stealing shows, Trehearn’s performance is a highlight.
But there are also some duds that fail the ‘does-this-need-to-be-a-song-and-if-not-is-it-at-least-worth-it’ test. I don’t even recall the underused Vanessa Williams (yes, that Vanessa Williams) singing, which is odd for someone who famously can sing well, but I know she did. (She also gets a cringeworthy line about ‘saving the best for last’. I cannot imagine that was in the original script, so the addition is so corny. But if it original, I will eat my words – but if it WAS is that why they cast her??? Honestly that would make me love everything about this production even more, that’s some baller move for one stupid joke, and I respect that.) For a character as vibrant as Stine’s producer, Jimmy Powers (a good Jonathan Slinger in a JK Simmons role) really should have stronger songs. And Bobbie’s cabaret sections just seem awkward.
Some of the performances left me cold as well. Nicola Roberts, from the pop group Girls Aloud, is not well suited to her one big song, which sounded like when our Kim McAfee in high school started rehearsal without warming up. And the Angel City 4, the ensemble that kind of narrates sometimes, and acts as a Greek chorus sometimes, and serves as the producer Jimmy Powers’ backup singers sometimes, sounded insanely off key all the times. I was literally making Chrissy-Tiegen-at-the-Globes gif face whenever they sang, which is super rude, but I couldn’t help it because holy wow those were some wrong ass notes! Fortunately, they don’t ruin another strong number, Munoz’s (Marc Elliott’s) fun “All Ya Have to Do is Wait”, although I don’t think there was any Hispanic representation in this show which is bad when there are some real yikesy slurs used.
All my endless raving about how well designed and directed this show is does actually have an end, though, and it’s now: This show is staged for 40% of the audience. The Garrick has notoriously horrible sightlines from too many seats, and pillars blocking the view for many of the rest. Add in a narrower-seeming stalls and stage than most, a mezzanine overhang that seems to start at the stage, and a chaotic wackiness to the seating plan, and you’ve got a recipe for disaster. That knowledge should make the director and crew more careful with what they are doing, but instead, here, they seemed to go ‘you know what, fuck it, let’s stage everything in that one top stage right corner even when it’s completely unnecessary, just to be dicks about it.’ There is so much happening at that spot that literally no one around us could see, and we had good seats. Given the overhang and sightlines, I am sure no one behind row M could see a good portion of the action, which is bullshit. If you’re lucky enough to be in that 40%, you’re going to have a phenomenal time. Otherwise, your resentment is going to color your experience, which is unfair both to you and this great production.
INFORMATION
For a 7:30 curtain, Act I ended at 9pm and the show ended at 10:28, which is about 15 minutes longer than it should be; there were issues at front of house before starting. Yes I really had to pee.
The Garrick Theatre is another stalls-in-the-basement one, so if you want to be at street level, sit in the circle. Also, the ladies bathrooms for the house left side of the stalls are upstairs anyway.
It is one of the smokiest shows in London right now, which is saying something since creators really love to keep those with respiratory problems and asthma away. Even for a 1940s noir show, smoking added nothing to the ambience they created with lights, performances, costumes, and sets. I am still waiting for someone to defend the use of smoking in the theatre to me.
The show is running until September 5, but the cast is changing several times (names this starry don’t do long runs anymore I guess).
STAGEDOOR
Everyone but Trehearn ran or snuck out a different entrance (as is their right yes but darn). The setup is nonexistent, so expect a mosh pit on the busiest sidewalk in London and a guard who doesn’t receive any information.
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The Picture of Dorian Gray: Good Concept for Modernization, Shaky Execution
The first five or ten minutes of the new streaming theatrical production “The Picture of Dorian Gray” are great. Captivating, stylized, and intriguing, the beginning switches between Zoom-style interviews of Joanna Lumley’s and Alfred Enoch’s characters as they share what they know about this story to Stephen Fry, investigating. It makes you curious and you want them to say more about whatever this tragic situation was and you’re excited to piece it all together. It’s an excellent start.
And then you meet Dorian (Fionn Whitehead), and it falls flat. The direction (and overall treatment) of him plus overly long scenes, sloooow conversations between him and other characters, and disappointing lack of clarity about the whole selling your soul thing all squander the splashy positivity of the opening and turn a colorful opportunity into an unfortunately drab and sluggish production.
The intent for the modernization of this classic story is decent: Instead of young hot man-about-town-Dorian being young and hot, getting a nice portrait painted of himself, and wishing for the nice portrait to age instead of his physical being, this Dorian gets a social media filter that makes his online appearance always young and beautiful. His friend Basil (Russell Tovey) makes him a special device for his phone that makes him look glowy and stuff online. So far, okay, sounds good.
My main problem (okay one of my three main problems) is that it’s entirely unclear what Basil knows about the cost, what Dorian expects it to be, and, for the love of god, WHY. (And any argument that uses answers from the original text are invalid.) Basil gives it to Dorian on his birthday, and asks Dorian what he would do for this magical* device. He says there’s a cost but never says what it is, and actual physical deterioration is really something you should make clear to the buyer. Dorian says something like “I would sell my soul” but is he aware that that apparently means “I’ll be chill with looking like a decaying corpse in about a week”? It’s unclear whether Basil is aware of this too.
*First main problem subsection b: This device of magical filters…exists. It’s called filters. We can already download and use filters and apps that make you look amazing and shiny without our physical body decaying and bleeding out the ears. Yes, his YouTube channel becomes successful too, but a) it’s unclear whether that was part of the deal or Basil was just assuming that with glowing selfies his friend would become popular online, and b) honestly with the Q Anon-style videos he starts posting (out of literally nowhere, another issue), he’d amass a large following without the device. There’s too much that I don’t buy or don’t understand about this deal that even a few sharper bits of dialogue would fix.
My second main problem: the pacing is horrendous. The Facetimes between Dorian and Sibyl, between Dorian and Harry (especially the epilogue), the birthday scene between Dorian and Basil, they all gooo ooooon fooooreverrrrr without much reason for it. If the show was a good 20 minutes shorter from cutting all the unnecessary pauses and silent stares, it would work better. There are so many editing decisions that went unmade. Like the ‘Social Media Safety’ web series character that Basil invents to try to assuage his guilt: why are we seeing this at all, let alone ENTIRE INTERNET SAFETY LECTURES instead of a few brief clips? (Okay maybe 25 minutes, actually.) And the introduction of Sibyl (Emma McDonald) showing like a dozen of her Instagram videos – we’d get what you were trying to say with like, 3. (So that’s 30 minutes.)
The third issue: Fionn looks like a normal fine-looking person that you can believe exists in real life, not some kind of one-in-a-million movie-star gorgeous where you would drop your jaw and ruin your life if you had the chance. He’s a normal kid. We’re told that this Dorian is so incredibly handsome and so ungodly charming that everyone falls in love with him and yet Dorian gets exactly zero chances to show any of that supposed charm. I mean, literally every. other. character says that they are madly wildly hopelessly in love with him, in some cases so much that they destroy their families. but like, WHY. and like, DON’T. Dorian was never given a chance to display any sort of charm to explain…any of it. When the foundation of the whole show rests on him being super hot and charming and he’s neither, that’s hard to come back from.
Apart from these crucial aspects, there were some nice bits. Alfred and Joanna’s scenes were mostly always entertaining, possibly why they are the most famous ones. I loved how much I hated Alfred’s mustache and how fake his accent sounded even though he’s British. And Joanna is always fun to watch, especially in her travel shows. I really liked the Great Gatsby-esque design for the screen cuts too, and Alfred’s study was amazing (except the carpet didn’t go).
I’m just disappointed that the updated concept failed to capitalize on its promise. It’s a good idea to show how much young people value their online appearance, but – even in a year where you’re not seeing anyone in real life – would you still pay for a better online look with bleeding out the ears? Also, if the message was that ugly thoughts show up on the face (as the end seemed to want to say), why did his face start uglying before the whole conspiracy business, and why did he *start* having these ugly thoughts? So much of the action felt unsupported. Also, I’m heavily confused about the end: Text on the screen explains that authorities found him next to the smashed chip and “recognized what it was”. Wha…what?
One more thing: what the heck is Sphinx?
The Picture of Dorian Gray is available to stream from March 16 – 31, and is co-produced by the Barn Theatre, Lawrence Batley Theatre, New Wolsey Theatre, Oxford Playhouse and Theatr Clwyd.
“Unbreakable Kimmy Schmidt”: Season 2, Episodes 3 & 4!
Sooo many amazing lines! Let’s jump right in!
The third episode might not have been as solid overall as #2, but oh my goodness was it chockfull of quotable lines! So many video clips to share here! But at times, the episode felt disjointed, full of hilarious jokes but not great story arcs. It was more like ways to shoehorn jokes into one script. But what great jokes!
Jacqueline has ended her search for a fabulous apartment, sort of – she found a sick place but can only afford rent for a few months. She has her $11.5 million painting on the wall and a ludicrously expensive carpet below it, and well that is it for furniture! Well aside from “those Philippe Starck ghost chairs” she points to (empty space, amazing). Hasn’t she ever heard of Ikea? The best is when Kimmy falls on the carpet, gets yelled at by Jacqueline who says how much it cost ($30,000), leading Kimmy to roll long-ways off the carpet while apologizing to it. Although Jacq is in dire straits, she still is paying top dollar for Abattoir, the doggie, to get the best dog massage in Manhattan (courtesy of Broadway’s Derek Klena! This show is the new Law & Order for Broadway performers). “This is Abattoir? I thought you two were sisters!” the masseur says to Jacqueline, like it’s a compliment to look like a dog’s sister.
EPISODE 3: Kimmy Goes to a Play!
The third episode might not have been as solid overall as #2, but oh my goodness was it chockfull of quotable lines! So many video clips to share here! But at times, the episode felt disjointed, full of hilarious jokes but not great story arcs. It was more like ways to shoehorn jokes into one script. But what great jokes!
Jacqueline has ended her search for a fabulous apartment, sort of – she found a sick place but can only afford rent for a few months. She has her $11.5 million painting on the wall and a ludicrously expensive carpet below it, and well that is it for furniture! Well aside from “those Philippe Starck ghost chairs” she points to (empty space, amazing). Hasn’t she ever heard of Ikea? The best is when Kimmy falls on the carpet, gets yelled at by Jacqueline who says how much it cost ($30,000), leading Kimmy to roll long-ways off the carpet while apologizing to it. Although Jacq is in dire straits, she still is paying top dollar for Abattoir, the doggie, to get the best dog massage in Manhattan (courtesy of Broadway’s Derek Klena! This show is the new Law & Order for Broadway performers). “This is Abattoir? I thought you two were sisters!” the masseur says to Jacqueline, like it’s a compliment to look like a dog’s sister.
That’s all very fun and good, but then she goes kind of off the rails trying to nab a rich old man to take over as her Mr. Moneybags. It’s sort of funny when she meets an old acquaintance and compliments him on his surgery that has pulled up his former extra neck skin to be his new face skin with it all tied it a top knot under his hair, ‘the same surgery Trump had!’, but then when she sits on his lap and tries to make out with him, it’s all just too much and too unfunny. I just want Jacqueline to return to being the funny-worst person onscreen and not this sad curry-worst person.
As for Titus, while we can be happy that he found the motivation and energy to write and stage a one-man play, the result is bound to create a crapload of controversy. The silver lining in this probably racially insensitive bit is that there was some actually funny comedy sprinkled amid the storyline, unlike the definitely racially insensitive Native American b.s.
So what was his play? Remember at the beginning of episode 1, which was a peek into the future with various Christmas stockings hanging for names we didn’t know? One of those names was Murasaki, and we learned who that is here: one of Titus’s personas from a past life, that of a Japanese geisha. Yes, Titus’s one-man play was him in…Japanese face, in geisha attire, singing old traditional folk songs and telling his/her story. The writers tried to preempt the controversy this plot would face in real life by having Titus face controversy in the show, by way of an online Asian community that named Titus one of its “Hitlers” for his racism and cultural insensitivity. The group bought all the tickets to his show in order to boo throughout. But then Titus sang and it was beautiful, so beautiful it made the internet Hitlers stop booing him and stop calling him a Hitler. And then one girl got stuck in a social justice cycle of apology and disappeared into thin air – that was so random but kind of funny as a comment on commentary. This whole plotline was pretty ridiculous and allowed for some really funny lines, but…but…I don’t think the meta commentary of including the backlash to his play in the actual show excuses the issues. I’m not the person who can say so definitively, but I’m pretty sure it is still problematic.
But aside from racism! Funnies! AND, a cameo by our favorite nemesis of Titus, Coriolanus (James Monroe Iglehart)!!
I’m not sure what Kimmy was up to this episode besides just being around as a sidepiece. That’s what that means. I loved the very-Kimmy cold open, with her asking Titus heated questions about why the ghosts are haunting poor Pac-Man! I also liked the blink-and-you-miss-it posters on the street for Silverfish Poison, a nice call-back to Episode 1.
As for Titus, while we can be happy that he found the motivation and energy to write and stage a one-man play, the result is bound to create a crapload of controversy. The silver lining in this probably racially insensitive bit is that there was some actually funny comedy sprinkled amid the storyline, unlike the definitely racially insensitive Native American b.s.
So what was his play? Remember at the beginning of episode 1, which was a peek into the future with various Christmas stockings hanging for names we didn’t know? One of those names was Murasaki, and we learned who that is here: one of Titus’s personas from a past life, that of a Japanese geisha. Yes, Titus’s one-man play was him in…Japanese face, in geisha attire, singing old traditional folk songs and telling his/her story. The writers tried to preempt the controversy this plot would face in real life by having Titus face controversy in the show, by way of an online Asian community that named Titus one of its “Hitlers” for his racism and cultural insensitivity. The group bought all the tickets to his show in order to boo throughout. But then Titus sang and it was beautiful, so beautiful it made the internet Hitlers stop booing him and stop calling him a Hitler. And then one girl got stuck in a social justice cycle of apology and disappeared into thin air – that was so random but kind of funny as a comment on commentary. This whole plotline was pretty ridiculous and allowed for some really funny lines, but…but…I don’t think the meta commentary of including the backlash to his play in the actual show excuses the issues. I’m not the person who can say so definitively, but I’m pretty sure it is still problematic.
But aside from racism! Funnies! AND, a cameo by our favorite nemesis of Titus, Coriolanus (James Monroe Iglehart)!!
I’m not sure what Kimmy was up to this episode besides just being around as a sidepiece. That’s what that means. I loved the very-Kimmy cold open, with her asking Titus heated questions about why the ghosts are haunting poor Pac-Man! I also liked the blink-and-you-miss-it posters on the street for Silverfish Poison, a nice call-back to Episode 1.
Carol Kane in half a minute proves how good an actress she is, when she realizes that the graffiti tag she thought was for the gang ‘effe 10 cinco’ was really spelling ‘Fios’, marking where the new Fios cables would run in her sadly gentrifying neighborhood. You can see how crushed she is and like, it’s so out of place and weird for this show but your heart breaks for her because she’s so damn good! She’s not a witch she’s your wife!
“Sesame street was based on this neighborhood because this guy lives in a garbage can, AND, there’s a gigantic furry monster that only I can see.” I love her.
Other lines that had me cackling – this is maybe the longest list you’ll ever see:
Kimmy, in response to Titus’s claiming he was a Japanese woman in a past life and will be portraying her in a one-man show: “Well, if Aisha Tyler can play a white woman on “Friends”, then I guess it’s okay.” BURN at “Friends”! I’m okay with it! deserved!
Our first greatness that can only be captured with video: Amy Sedaris, the great Amy Sedaris, who is sort of the antithesis of the Fred Armisen sitcom rule (she is a guest star in a lot of them, but she’s always welcome), rushing into Jacqueline’s apartment as Jacqueline shouts “No shoes on the rug!” Cue Amy kicking off her shoes with expert timing and skill. Had to pause for you, Mimi Kanasis.
Titus’s show was called “Kimono You Didn’t!” Bahaha! I think they thought of this joke first and then wrote an entire plotline around it.
“No face journeys”
Jacqueline: His name is Douglas, and he’s coasting on looks!
Douglas: YOLO!!!
I also cackled at this interaction with Jacqueline and her wanna-be DJ boytoy:
“No face journeys”
Jacqueline: His name is Douglas, and he’s coasting on looks!
Douglas: YOLO!!!
I also cackled at this interaction with Jacqueline and her wanna-be DJ boytoy:
Jane is back with the best zingers!
Titus: “DJs? Ew! No! Their poor parents.”
AutoCorrect fun times: Kimmy gets a text: “Sorry guys, Jacqueline needs me to get the duck over here.” It’s not the funniest autocorrect joke I saw on TV this week (that honor goes to “Jane the Virgin” for making me absolutely crack up when a tipsy Jane texts Raf “All food here!” Amazing quick joke) but it was improved by Kimmy’s comment “Now I have to figure out where to get one”.
Kimmy, telling Titus she sold out his show: “Guess who’s coming to see it?”
Titus: “Patti LuPone? Patti LaBelle. I’m out of Pattis. Does it have to be a Patti or did I do that?”
And, my favorite of the episode:
Kimmy: “What happened to all your other kimonos?”
Titus’s response, only acceptable in video form:
Titus: “DJs? Ew! No! Their poor parents.”
AutoCorrect fun times: Kimmy gets a text: “Sorry guys, Jacqueline needs me to get the duck over here.” It’s not the funniest autocorrect joke I saw on TV this week (that honor goes to “Jane the Virgin” for making me absolutely crack up when a tipsy Jane texts Raf “All food here!” Amazing quick joke) but it was improved by Kimmy’s comment “Now I have to figure out where to get one”.
Kimmy, telling Titus she sold out his show: “Guess who’s coming to see it?”
Titus: “Patti LuPone? Patti LaBelle. I’m out of Pattis. Does it have to be a Patti or did I do that?”
And, my favorite of the episode:
Kimmy: “What happened to all your other kimonos?”
Titus’s response, only acceptable in video form:
Kimmy’s face & nodding while Titus just crazily yells! It’s all so good! Titus was totally back to his bad self with all these amazing lines. THIS (next) was the best part of the episode too, and one of my favorite parts of the whole series, maybe:
After reading bad online reactions to his portraying a Japanese woman, Titus complained “Why can’t I be Murasaki? I/she AM/was me/her!”
After reading bad online reactions to his portraying a Japanese woman, Titus complained “Why can’t I be Murasaki? I/she AM/was me/her!”
Absolutely brilliant!!!
EPISODE 4: Kimmy Kidnaps Gretchen!
Remember the above recap you just read that had a metric shittonne of quotent quotables? Well, hate to say it, but I think they used up most of their funny lines on that one, leaving a few paltry bits for Episode 4. The good ones were really good, but they were few and far between.
However, there was more heart in this one than any other so far. Titus has agreed to go on a date with incredibly normal construction worker Mikey, who seems like a totally decent, kind, average guy and thus a very odd match for the bigger-than-life personality of Titus. But for a long time, Titus has been shielding his heart from any potential hurt by keeping men at arm’s length and never going on a second date. He plays this off as his being too cool for school/mere mortals, but he admits that most of his exes just never cared enough to come back. Really sad! I don’t want Titus to be sad! I want Mikey to make him happy!
I love loved their first interaction, when Mikey surprised the still-coccooning Titus hours before their date because he was fuh-reaking out with anxious prep questions:
Mikey: “If we go to a gay bar, can I get a beer? And which one of us opens doors for the other? Or are there no doors? Do we not use doors?!?!?!?!”
Titus: “You gotta make like a 30-year-old single girl and settle.”
At first, their dynamic is played from the angle that Mikey is this totally new baby of a gay man, freshly out, which would leave Titus with a lot of responsibility to teach him all the secret handshakes and stuff. I loved when Titus is complaining about how big a job it would be to teach Mikey all the things “Queer Eye for the Straight Guy”-style, but how that show had it so much easier:
Titus: “I’m just one man! They had five guys! And now I want a hamburger!!”
They go on their first date to a hot gay bar/club that won’t let them in because they aren’t hot/cool (is that confusing for ESL people) enough, which leads to the funniest stretch of the episode. First of all, did you notice the name of the club?? It was SCOTUS! Bahahahha amazing. When they dejectedly walked away from the velvet rope, this genius happened:
Titus: “Should we make like Queen Elizabeth and dub this a night?”
DIED.
But instead, Titus and Mikey bonded by talking about movies, especially ‘The Lion King’ and how Timon and Pumbaa had the most beautiful relationship. Titus even allowed himself to break his #1 date rule: he ate in front of him. His issues run deep though, and Lillian found him alone in the morning, deciding to never call Mikey again, despite Lillian’s romantically covering the bed with rose petals – or really, barbecue potato chips. It sounded kind of dumb until we actually see Titus lying in the bed covered in chips! It was so funny when he moved around and the chips flew all about. Ridiculous! Then he and Lillian had another spectacular exchange:
Lillian: “Liar!! I watched the parade of men in and out of your door for ten years!”
Titus: “Well you should thank me – most people pay good money for parades.”
FIRST OF ALL, Carol Kane said Liar!!! Ahh! Thank you writers room! And this Titus line was gold. I loved this whole story line with Titus trying to work out his deep insecurities enough to Mikey a chance. I also loved how the dynamic was flipped by the end of the episode, with Mikey our nice guy being the one who has to agree to take on the burden of helping Titus with his issues, not the other way around. ALSO, Titus at one point said, “I once went to a New Years Eve party dressed as Nathan Lane Bryant; it was moderately well-received.” Best costume hybrid idea since Sandra Dee O’Connor, Dirty Harry Potter, and Tinkerbell Tailor Soldier Spy!
Sadly, while Titus had this great storyline, one that actually might give this show a plot we care about for more than one episode, Kimmy had a not-so-great one: Her old bunker-sister-wife Gretchen has found her way into yet another cult, this one based around cosmetology. Other sestra notified Kimmy about it by emailing an ad for the cosmetology cult’s cruise, leaving NYC the next day. This led to another wonderful rendition of the Bunny & Kitty theme song, thankfully. Kimmy somehow became an evil genius and figured out a smart way to kidnap Gretchen – put “Gretchen check-in” signs near the Crew check-in signs at the docks to lead her out. Worked a treat. But then we had a whole episode of Kimmy trying to help Gretchen figure out what she wants in life instead of just following another cult leader. I don’t care about Gretchen, guys. Like at all, she sucks. Give me a whole episode about the crazy Mexican sestra, that would be AMAZING. But Gretchen is lame sauce, and while her crazy night had a few funnies, it mostly made me feel like I was watching an Italian farce where I just want to stop people from doing dumb things. The end, with her finding her ‘path’ by starting a cult and being the leader instead of being a follower, was um not the greatest. Cults are not good, whether you are being taken advantage of or taking advantage of others. So, um, let’s get back on track next time!
Also? Zero Jane Krakowski in this episode! What is THAT about?! I hope next week Jane is back in top form and Titus & Mikey are happy!
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Do you need a refresher on Episodes 1 & 2? Find it here!
