College Media Network - Search the largest news resource for college students by college students

It's no "High School Musical": "Glee" pairs show tunes with sarcasm

By Keeley Smith

Content Editor

Print this article

Published: Friday, October 30, 2009

Updated: Friday, October 30, 2009

Enrapturement. Bedazzlement. Hope.
Those name just a few of the emotions potentially produced by “Glee,” Fox’s latest show from the creators of “Nip/Tuck.” 
To be frank, there really is no television show like it.
“Glee” manages to balance a mix of modern and old show tune numbers with biting wit and a high school caste system; it’s got the cheese of High School Musical with just enough deadly sarcasm to allow you to walk away without feeling bloated.
The show premiered last spring with Will Shuester, a young Spanish teacher, working to return McKinley High School’s glee club to its former glory.  Shuester’s passion stems from an appearance at glee club nationals when he was a student at the same high school in the same small Ohio town.
In an attempt to make the glee club cool, he attracts cheerleaders and football players, including school hunk Finn Hudson to the original glee club ensemble.
Enter the eclectic characters that make the sporadic musical numbers possible. Rachel Berry (played by Lia Michele, a bona fide Broadway star herself), the clear star and voice of the group, aspires to be a star every day of her life, and makes sure nobody forgets it. Sue Sylvester, of “Role Models” and “Knocked up,” acts as Shuester’s nemesis, doing everything she can to foil the glee club’s success.  And Shuester’s obsessive-compulsive wife, in a desperate attempt to salvage their fading marriage, fakes a pregnancy that threatens to end Will’s involvement in the glee club.
Combine that with a budding romance between Rachel and Finn and the pregnancy of Finn’s cheerleader girlfriend, Quinn Fabray (president of the chastity club at Mckinley High), and you’ve got yourself a musical dramedy.
“I know what it’s like to be a minority,” says Sue during one of her ill-fated attempts to split up the glee club. “I’m 1/16 Comanche Native American.”
It’s these one-liners that keep the show’s momentum short and snappy. Perfect for those jazz fingers in numbers like “Don’t Stop Believin,” “Gold Digger,” and “Somebody to Love.”
“Glee” is perfectly content to live in this fantasy high school world without trying to make its perpetual song breakouts seem realistic.  In one number lamenting Quinn’s ostracization following her pregnancy, the reason for a glee club performance disappears, and the students just randomly appear on a multi-tiered stage with dramatic spotlights and choreography.
And the dramatic love triangles (Shuester and the guidance counselor’s crush while his wife is home; Quinn, Finn, and Rachel), add a touch of ache to the plots.
In fact, maybe it’s the incessant ache that all the characters display—the adult discontents mourning their common future of teaching at a small town high school; students eager to get out of town—that makes “Glee” most endearing.
They may be able to sing and dance, but not everyone’s guaranteed a way out of McKinley High School and their corner of Ohio.
To make the present bearable, however, there’s always a stage. And you can bet everyone in “Glee” will continue to put on one hell of a performance.

Comments

1 comments






log out