DVD Review: Craig Ferguson -- A Wee Bit o' Revolution (2009)

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In his wee small hours of the morning duty serving as the Emmy nominated host of CBS Networks’ The Late, Late Show, Craig Ferguson was described by Newsweek as “Late night’s best kept secret.” And of course the best way to unveil a secret is to shout it from the rooftops or voluntarily choose to make Boston’s Wilbur Theatre the site of his first ever stand-up comedy DVD by journeying to a city that Hollywood warned him was filled with loud, “surly drunks.”

Chiding that “that’s my family you’re talking about,” the Scottish comedian who recently became a full-fledged American citizen proudly returned to the city for the first time since his citizenship ceremony to deliver an 80 minute sprawling routine on America’s birthday in the summer of 2008 which is titled A Wee Bit o’ Revolution.

On the disc, he explains that it was his goal to become an American citizen following his first visit to the United States at the age of 13 when he memorably traveled in a car that wasn't stolen along with his cousins to see Blue Oyster Cult in concert (complete his first experience with pot).

And throughout the special, Ferguson is at his best when he goes off on unrelated narrative tangents thereby solidly and succinctly shocking us into laughing along in lieu of the ho-hum through-line as he gives us an overview of his life so far. Although this approach begins on an extremely strong note, it soon starts to decline downhill when the young Ferguson “the goofy kid gags” evolves into discussion of Ferguson “the man in rehab.”

In one of the DVDs most hysterical bits, Ferguson goes into Bill Cosby mode as he discusses life with “America’s stalker,” a.k.a. his beloved mom whom he affectionately describes as “an acid casualty” that never took any acid who coined nonsensical phrases like, “I can’t do eight tings at once, I’m not an octopus,” or—like my own father—warning that if you eat too much of the same kind of food, you’ll turn into it.

In describing his life in Scotland which he always saw as a steppingstone to where he knew he needed to be—America-- Ferguson bravely ventures into discussing the twenty years it took him to get sober with a mixture of humor and pathos. While doing so, he blends in some hard facts of his life with hilarious anecdotes about why Chloroform never caught on as a street drug to why alcoholics feel superior to junkies and why it’s always great to have sex addicts come to a meeting.
However, this segment borders on squirm inducing after the first few minutes when it seems to continue on a tad too long and makes us sorely miss his downright fall-out-of-your chair funny riff about Sean Connery which involved Ferguson engaging in Connery's perpetually unwavering Scottish accent in films like The Untouchables (“I’m Irish”), The Hunt for Red October (“I’m Russian”) until he reenacts Connery speaking Japanese in Rising Sun.

Thankfully, soon the humor gets back on track after his sobriety monologue finds him landing in Los Angeles. Recounting his audition as a Latino photographer for the Brooke Shields sitcoms Suddenly Susan which was so memorable yet so awful, that’s how he secured his gig on The Drew Carrey Show up through his discussion of marriage in a Jewish/Scottish ceremony to the birth of his son—Ferguson subject-jumps all over the map in his autobiography.

Yet, most intriguingly, he seems to do his finest work when he moves away from his own life and comments on everything else—most likely since that’s what he’s accustomed to doing on The Late, Late Show by discussing the events of the day.

And this is evident immediately in the disc’s most memorable one-liners and segments that find Ferguson describing the Scottish take on Star Trek's character Scotty in an accent that they felt sounded more like a Pakistani man who had had a stroke as opposed to somebody from “the old country,” to a brief but astute inquiry about why men frequently “adjust themselves” in public which will find an immediate kinship among women everywhere who are annoyed by the exact same action.

Eventually—in yet another tangent that interrupts another slightly dull anecdote about his life, Ferguson moves into an inspired and hysterically inventive take on an infomercial for a product he calls “the phone glove.”
But less successful are the more obvious and outdated jokes about Tom Cruise (which would’ve fit better in 2005), discussion about Oprah being a super-power (Kathy Griffin, anyone?) and a riff about the Hollywood-like sounding titles of adult movies that we’ve all heard before along with others that seem a bit like he was going for some easy baskets when what we really wanted from the incredibly talented Ferguson was more risky slam dunks.

Despite this, ultimately the DVD just released from Image Entertainment that also features a bonus sixteen minute interview and speech with Ferguson which were previously unavailable in the special’s initial airing on Comedy Central, is an uneven yet mostly funny disc. And although his Revolution is quite “Wee” and definitely from a killer opener had the potential to become quite a major one—probably it would’ve improved with editing or a different approach than the unsuccessful timeline with segues idea since the segues are so much better than the timeline.

However, at least we know we’ll be seeing a whole lot more funny from Ferguson both on a nightly basis as well as in more stand-up gigs in support of the DVD and in the future.

New York City Ballet: Bringing Balanchine Back (2008)

Like all devoted parents eager to promote their child's self-esteem, as a toddler I was enrolled in numerous activities, taking part in everything from tumbling to theatre and from the age of three, I distinctly remember beginning ballet. While no doubt at that age, the lessons probably consisted of a group of toddlers running around the room in pink tutus as a frustrated and overworked instructor tried to shout, "first, second, third, forth and fifth," in getting our arms and legs in the proper positions, as I grew I stuck with dance, later moving onto the combo of tap, ballet, and jazz.

And while I loved the beauty of dance-- despite never really getting why all of my friends and teachers raved about Cats which I knew little about aside from having an irrational fear of the four pawed creatures who meowed-- as an overly tall girl, I found that I couldn't quite mold my gangly frame into the elegance and grace they wanted. Standing nearly eye level with my instructors and being told I'd have to special order toe-shoes should I want to continue, I retired from dance at an early age but always remained entranced by it as both a musical film buff and arts lover.

From Astaire to Kelly to Fosse, dance has always fascinated and although I thoroughly enjoyed the tremendous showmanship of a touring Moscow company who played ASU a few years back, I was particularly mesmerized by my second encounter with dance via Ballet Arizona artistic director Ib Anderson's production of works choreographed Balanchine. From the elegance of the intricate fast paced footwork offered by small groups of impeccable principal dancers to the sultry and daringly provocative artistry set to the music of Stravinsky, I was hooked and also became immediately aware by just how influential George Balanchine had been on twentieth century dance as homage and allusions to his work seem to show up everywhere.

Having co-founded the New York City Ballet after leaving his Russian homeland as a young man, Balanchine became one of the most prolific and inventive choreographers, crafting more than 450 works for ballet, Broadway, opera, theatre, and Hollywood during his lifetime. Surrounding himself with a company of more than one hundred dancers, he took the lessons learned at the world-famous and legendary Mariinsky School of Dance in St. Petersburg, Russia and created his own uniquely abstract yet amazingly deep brand of dance "which would ignite an aesthetic firestorm," as narrator Kevin Kline notes in this exquisite newly released documentary from City Lights Media.

Bowing onto shelves on November 11, New York City Ballet: Bringing Balanchine Back chronicles the historic visit the company-- headed up by director Peter Martins-- took to St. Petersburg, Russia in 2003, thirty years after the death of the company's beloved and incomparable, "Mr. B." Returning to Russia for the first time since Balanchine brought the company there at the height of the Cold War in both 1962 and 1972 in a decision that was met with both "applause and criticism," on both sides since as an interviewee notes, having left his "motherland," some considered Balanchine to be a traitor, Martins prepares his dancers for the ultimate test.

With an exceedingly large company of ninety-five dancers where the average age of the performers is just twenty-one (with numerous participants having studied together since the age of eight in premiere New York City dance schools), the New York City Ballet is known as one of the busiest dance companies in the world performing anywhere from fifty to seventy-five ballets in a calendar year comprised of two seasons and touring performances. Working hard to master Balanchine's overwhelmingly fast-paced, exceedingly complex and "extremely musical" choreography, the company strives to perform Mr. B's dances as well or better than they were staged when the man himself was alive, as a veteran principal dancer from Balanchine's original company notes-- thereby fulfilling the promise that the man had originally made for the company to continue to thrive after his death.

In this engrossing behind-the-scenes look which originally aired on public television, we're given an unprecedented backstage access to all aspects of the company. We get an insider's look at the production and historic journey, witnessing the grueling rehearsal schedule and jam-packed lives of the dancers who risk injury and juggle nerves in a twenty-four hour travel schedule only to be faced with just one day off in Russia, the technical team that has to negotiate the color and size of lights and scenery to get just the right shade of blue, the musical direcor who has a hard time rehearsing with an orchestra that doesn't seem to be on the same page with her musically, a physio team prepping for any injuries or disasters that could arise, as well as the major challenge of the venue itself.

From dealing with the Mariinsky Theatre's raked stage which provides an entirely different rhythm for the dancers used to performing on their flat surface back in the states (making each step more dangerous and difficult) to the constant scrutiny they face by the Russian dancers and audiences associated with Balanchine's alma-mater who seem ready and anxious to critique any misstep, this amazing DVD boasts crystal-clear sound and picture quality.

Beautifully transferred to DVD with a Tour of the Mariinsky Theatre and additional interviews totaling forty minutes of previously unreleased extras, while it's sure to be a coveted item by dance enthusiasts and ballet buffs, it also provides an inexpensive alternative to witness the magic of Balanchine as performed with strict attention to detail and authenticity by the renowned New York City Ballet right from your living room.

Far cheaper than a plane ticket to both NYC and Russia, not to mention without the added expense of accommodation and performance ticket price that must have been endured to the privileged attendees who came for the 300th anniversary of the theatre during St. Petersburg's annual White Nights festival that coincided with the centennial of Balanchine's birth, it also boasts some additional ballet clips of the hip and daring choreography from Jerome Robbins as well as the company's director Peter Martins. While the standout performance clips include staging from the "Symphony in Three Movements" complete with an amazing introduction of several highly energetic women dancing perfectly in sync and extraordinarily fast, I was also delighted by Balanchine's "homage to his adopted land," in his spoof on America in the "Western Symphony."

Sure to make one nostalgic for their youth in ballet shoes or eager to check their newspaper for local dance performances, above all Bringing Balanchine Back is a celebration of the love and passion that Martins astutely argues the dancers must have to work in an industry that won't offer them fame or fortune but injury instead. A true testament to the beauty of dance and the importance of preserving the classic and influential works of the prolific Balanchine and others which serves as a soulful reminder that America should continue to invest in becoming a great exporter of high culture, City Lights Media's New York City Ballet: Bringing Balanchine Back will be available on Tuesday through exclusive retailers such as Amazon.com (see below)-- no tutus or experience necessary.

Theatrical Trailer

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My Little Pony Live! The World's Biggest Tea Party

Although you won’t want to miss this party for all the tea in Ponyville — even if that isn’t your beverage of choice — chances are Sweetberry has you covered with the delectable muffins, cakes, and cookies she bakes fresh daily in her enticing Sweet Shoppe.

Slated for a September 16 release from Paramount Home Entertainment, Hasbro’s beloved “My Little Ponies” come to life in 2006’s live-touring musical production now captured on DVD to offer fans the best seat in their own house (view the original trailer). Although interested fans can also find a companion book by author Jennifer Frantz and illustrator Lyn Fletcher by the same name, there’s no duplicating the excitement of the DVD sure to be a hit with young girls. This is especially true for toddlers through kindergarteners — not to mention a nice trip down memory lane for Gen X’ers who recall the original toy from its 1981 introduction as “My Pretty Pony” to Hasbro’s official series launch of the “My Little Pony” line of toys in 1982.

While the original toys were so popular in the 1980s that “at one point,” they even outsold Mattel’s Barbie, the line has dwindled over the years, disappearing altogether in the mid-'90s before reemerging in various configurations including 2003’s popular “Generation 3: Ponyville” series that no doubt inspired this musical. Featuring several popular characters and numerous songs including catchy originals like “Disco Dash,” “Try a New Color on For Size” and “Shake Your Cutie,” My Little Pony Live! The World’s Biggest Tea Party also incorporates some of the better known tunes from various My Little Pony DVDs over the years.

Likewise, it’s of even greater interest for collectors of the series with its inclusion of characters such as Thistle Whistle, Rarity, Wysteria, The Breezies, Minty and others that “no longer exist” in the line today. With the newest Hasbro line dubbed “Core 7,” as Wikipedia explains, which for marketing reasons has been chopped down to “only seven characters” and zero plans for “no new characters [to] be issued,” instead blending together older versions of numerous characters in one, this DVD comes at an ideal time to serve as a celebration of the series as a whole and the way they touched the lives of the various generations around the world since their launch.

The DVD, which includes five animated sing-along songs complete with the words at the bottom of the screen, is also accessible for the hearing impaired throughout the feature for televisions equipped with closed captioning. Directed by the Emmy award-winning television veteran David Stern, whose resume of experience in filming elaborate stage productions is nearly a mile long, this bright, upbeat, and beautifully digitized transfer invites participation from not only the audience being filmed (with many cuts to happy dancing and smiling children and parents) but also from the kids at home.

From the very start as Ponyville’s friendly Spike takes the stage in search of a misplaced “how to” book given to him by a kindly old troll, viewers are addressed directly as he inquires if they’re not only willing “to have a jolly good time” but also he encourages kids to remember that “if you feel like singing, dancing, or clapping your hands — go right ahead.”

However, as any Pony fan will tell you, Spike’s just the warm-up act and the real show begins when Sweetberry, Rainbow Dash, Pinkie Pie, and all their friends take the stage. When the ponies decide to hold a huge tea party for their audience full of new friends at Rarity the unicorn’s glittery, sparkling Crystal Rainbow Castle, the group swings into preparation. From learning the proper tea drinking etiquette to striving to create the world’s biggest invitation, and visiting the ever stylish fashionista pony Sew-and-So to make sure they’re all well dressed, it seems like nothing has been left to chance.

Although, amidst all of the singing, dancing, and merriment performed on a highly colorful stage with a curtain made of streamers ready to “razzle and dazzle,” the perpetual worrier Pinkie Pie, who was overly concerned that her friends including the sweet but admittedly accident prone and forgetful pal Minty would neglect their duties, mistakenly forgot one of her very own — namely, bringing the tea. As they decide to “squink” a.k.a. “squeeze and think,” and Pinkie Pie fears that she’ll be shunned, she realizes that in the end everyone makes mistakes and the most important thing in addition to “bounce back ability” is that you always have a great supportive base of empathetic and loving friends to help you solve any problems that may come your way, whether it’s in Ponyville or in the real world.

While admittedly, older fans of grade school age may want to stick with the animated DVDs as opposed to the live production (rated G for general audiences) which is aimed at the much younger set, this cheerful and positive production captures the essence of Hasbro’s My Little Pony with plenty of “sing-along ability” as well as their moral of “bounce back ability.”

By, as they say, looking at “what can happen when you’re positively pink,” kids can get lost in a carefree, magical world for sixty-five minutes. Moreover, thanks to the performers and Stern’s direction, you won’t have to worry they’ll be overly sedentary instead invited to join Rarity’s love to “skip and flip” and “dance and prance,” while helping Pinkie and her friends along the way. Additionally, thanks to the cute sing-along songs included in the special features that light up as each word is sung, it may also help encourage greater phonetic skills than your run of the mill toddler DVD. And as an even greater bonus—it’s not to mention one that contains catchier songs than the rest as this reviewer is still humming “Shake Your Cutie” a full day later.