AppleTV+ | ★★★★✩
Calling your show Schmigadoon! pretty much makes it review proof for a Jewish newspaper. What am I going to do if I want to mock it, add another schm, Schmschmigadoon? The schm is our greatest weapon, even towering TV shows like Ozark and Succession tremble at the thought of being judged Schmozark and Schmuccession.
Fortunately the sword can stay in its sheath, for this clever post-modern take on the golden age of musicals, parodying the likes of Brigadoon, Oklahoma!, and Carousel, delivers enough good-intentioned snarkiness to go around.
The action swiftly kicks off as two doctors in an ailing long-term relationship take a bonding hike that gets them lost and trapped in a magical land of plywood sets, idealised 1910s Americana, and songs that break out at the drop of a hat. And then putting the hat back on. And then begging the cast to stop singing. From there it’s a witty six-episode romp through the tropes of 40s Broadway as they try and figure out a way to escape and fulfil the leprechaun’s (you’ll see) remit to find ‘true love.’ Which is exactly why I never go hiking.
Our two leads are played by the always reliable Keegan-Michael Key, delivering the same likeable cynicism and selfishness that’s become his forte since Key & Peele dominated the sketch show format, and longtime SNL cast member Cecily Strong, who finally gets to take centre stage showcasing her comedy chops. Both characters are initially wary of, yet eventually won over by a large supporting cast, who start out as ciphers, but progress to reveal hidden depths. Standout amongst them is the intimidating force of Kristin Chenoweth, leader of ‘Mothers against the future.’
I’ve never been a massive musical fan, so can’t really speak to their artistic depth or purpose, but that doesn’t preclude being able to enjoy this show. Like a Curb Your Enthusiasm episode, where you might get more out of it if you’re Jewish, Schmigadoon! delivers a lot of nods and winks to those familiar with Brigadoon and the rest, but there’s enjoyment to be had regardless. The musical numbers are full of silly innuendo and there are plenty of pithy one-liners and running jokes to move the action forward.
With its cleverness, originality, and playfulness with the format, what this most reminded me of was WandaVision, making the old new again. Directing all the episodes is Barry Sonnenfeld, who brings his meticulous eye to paying homage, but with all the modern tools available to filmmakers today. Script and lyric-wise, with gentle ribbing like that towards a family member, this is obviously an expression of love for the genre from the writers Ken Daurio and Cinco Paul.
Given its adult themes including gender roles and sexuality, as well as the overall knowingness, I was surprised to see that they’re also the creatives behind Despicable Me and other family favourites, yet I guess this could just as easily wash over children, leaving you to snigger away in the background.
