So much of the acting is this episode is exaggerated, to the point that I had written it off about midway through. Too bad the director didn't ask everyone to dial it back by about 25%; a more natural, less hammy approach would have helped to draw the viewer into this appealing and compelling show.
GREAT "travelogue" of Chicago in '62--- State Street's Chicago Theater (with "The Music Man" film on the marquee), the El tracks, Tribune Tower, city skyline, Grant Park, Buckingham Fountain, Prudential Building, Marina Towers, the Art Institute, and Michigan Avenue are all beautifully documented, and serve as an eye-catching backdrop to the ongoing saga of Tod, Buzz and guest star Sorrell Booke.
Despite the drawbacks listed above, I was totally surprised and moved by the ending of the episode, which provided the perfect resolution to this tale of personal torment and self-doubt. How fitting that Buzz, in one of his improvisatory, stream-of-consciousness flashes of brilliance, recalls the true story of Russian composer Tchaikovsky's intense but distant relationship with his wealthy patroness (Nadejda von Meck) as a possible way of helping his new-found friend (Sorrell) deal with his own romantic dilemma.
You have to follow this one carefully, as the plot is sometimes a tad obscure. Especially important is the fact that Sorrell's "Dream Voice" woman works at an answering service, which becomes critical as Tod and Buz attempt to get the two would-be lovers together. And after a number of twists and turns, Sorrell's big solo climb up the staircase to his encounter with destiny is very well paced and photographed. Lovely musical cue at the final big reveal.
It is a love story that wears its O'Henry-esque charm and insight into the human condition very well. LR
GREAT "travelogue" of Chicago in '62--- State Street's Chicago Theater (with "The Music Man" film on the marquee), the El tracks, Tribune Tower, city skyline, Grant Park, Buckingham Fountain, Prudential Building, Marina Towers, the Art Institute, and Michigan Avenue are all beautifully documented, and serve as an eye-catching backdrop to the ongoing saga of Tod, Buzz and guest star Sorrell Booke.
Despite the drawbacks listed above, I was totally surprised and moved by the ending of the episode, which provided the perfect resolution to this tale of personal torment and self-doubt. How fitting that Buzz, in one of his improvisatory, stream-of-consciousness flashes of brilliance, recalls the true story of Russian composer Tchaikovsky's intense but distant relationship with his wealthy patroness (Nadejda von Meck) as a possible way of helping his new-found friend (Sorrell) deal with his own romantic dilemma.
You have to follow this one carefully, as the plot is sometimes a tad obscure. Especially important is the fact that Sorrell's "Dream Voice" woman works at an answering service, which becomes critical as Tod and Buz attempt to get the two would-be lovers together. And after a number of twists and turns, Sorrell's big solo climb up the staircase to his encounter with destiny is very well paced and photographed. Lovely musical cue at the final big reveal.
It is a love story that wears its O'Henry-esque charm and insight into the human condition very well. LR