![]() ![]() So the first version I got was a super rough demo. We wanted to create a score that really enhances and brings emotion from your audience. ![]() Ideally what I’m doing is reading through the script, making sure those songs are clearable, and if there’s any issue I bring it up and pitch other ideas. ![]() Von Pervieux says, “My job is to go after these songs. When it was brought to Sudeikis, he loved it right away. If your spark is music, you’ve hit the jackpot.” The final vocal was like a patchwork quilt, done in many different studios.” He continues, “I think for me, to keep things fresh, it comes back to gratitude and reminding yourself how fortunate you are. Says Ryder, “You know that feeling where there’s something else at play? You’re very lucky if you tap into it in that moment. But fortune favors to those who ride the storm and make it through.” Oh, but wanting it doesn’t always make it yours. He sings, “We wanted it so bad, gave it all we had. This was a song about bouncing back from a defeat and continuing to fight. “Slings & Arrows” has heart, laughs and brains aplenty and, at just three seasons of six episodes each, it’s an easy binge - less time than a performance of “Hamlet.But the Eurovision star’s ballad fits in seamlessly. But if you’re a Canadian theatre aficionado you’ll also appreciate seeing pros like Ouimette, Colm Feore, Geraint Wyn Davies and many more at work. Part of the fun of watching “Slings & Arrows” now is seeing all the Canadian actors in it who have gone on to wider acclaim, like Oscar winner Sarah Polley, Oscar nominee Rachel McAdams and Emmy winner Luke Kirby. Geoffrey must contend not only with reviving an ailing artistic enterprise and his own fragile mental state, but with the ghost of the previous artistic director, played by brilliant real-life theatre artist Stephen Ouimette.Īnd then there are the sensitivities of the actors to manage, not least Geoffrey’s ex-girlfriend leading lady Ellen (Gross’s real-life wife, Martha Burns), and the tension between making art and making money, with general manager Richard Smith-Jones (co-creator Mark McKinney) crassly representing the latter interest. Gross’s Geoffrey Tennant - who, notoriously, had a nervous breakdown in the middle of a performance of “Hamlet” - returns to run the New Burbage Theatre Festival. I’m talking about “Slings & Arrows,” a gem of a show that I will never tire of recommending. Twenty years ago, a Canadian TV comedy debuted in which Gross played a disgraced Shakespearean actor who takes on the artistic directorship of a theatre festival very much like Stratford. Nonetheless, I still have a lot of affection for “Ted Lasso.” It made us feel things it made us smile and laugh and cry, sometimes all at the same time. Think the racist vilification of Nigerian player Sam Obisanya (Toheeb Jimoh) or Colin Hughes (Billy Harris) coming out as gay. “Ted Lasso” also had a tendency to raise meaty issues only to bat them away like it was heading a soccer ball. Still, the series also gave us a thoroughly enjoyable redemption arc in turning star player Jamie Tartt (Phil Dunster) from an arrogant bully into a team player who was actively striving to do better - although even that was undermined by a plot device that had Jamie and friend Roy Kent (Brett Goldstein) physically fight over their shared ex Keeley (Juno Temple). Not much of a reward for one of the show’s breakout characters. And, notwithstanding his supposedly genius-level IQ and the insecurity that roiled him since Season 1, he’s thrilled with this demotion? Nate was in full villain mode as Season 3 began but started to waver, and next thing you know he has quit West Ham (off-screen) and returned to Richmond, not - despite his reputation as a football “wonder kid” - as a coach but as assistant to the new kit man. He betrayed Ted and abandoned the team to become head coach for rival West Ham United. He began as AFC Richmond’s underappreciated and ridiculed kit man, rose to the coaching staff due to the brilliance of his football acumen and Ted’s appreciation, but he took a heel turn at the end of Season 2. Nowhere was the short shrift given a character arc more apparent than with Nate Shelley (Nick Mohammed). (In its promotional materials, Apple was still calling this the “season” rather than the series finale, but you can’t have a show called “Ted Lasso” when your title character has left the field.) “Ted Lasso” has sometimes been compared to another famous feel-good show that dealt in love and kindness, “Schitt’s Creek.” But whereas character metamorphosis on that series tended to feel more organic - aided by the fact it had more than double the episodes and fewer folks to transform - on “Lasso,” it sometimes felt unmoored, particularly in this third and final season. ![]()
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