I could be hugely unimaginative and begin this review of Glee Season 1: Volume 2 Road to Regionals by comparing the hugely successful television series to Marmite. Such an analogy, however, would be doing Glee a disservice. Marmite, you see, is rubbish.
Picking up where Volume 1 left off, this second collection of episodes chronicle the aftermath of the William McKinley High School Glee club’s victory at Sectionals. Returning to school – for more life lessons courtesy of teacher Will Schuester (Matthew Morrison), further scheming from his arch-nemesis Sue Sylvester (the exceptional Jane Lynch) and much, much more in the way of drama – Rachel Berry (Lea Michele) and her fellow Gleeks face new trials and tribulations on the road to Regionals.
It is impossible to describe Glee without invoking nauseatingly saccharine High School Musical comparisons. However, while Disney could have undoubtedly pitched a show with similar set-up, the Mouse House could never have found such a winning balance between the mawkish drama and laugh-out-loud humour so expertly tapped by show-runner Ryan Murphy.
While there were undoubtedly problems in the beginning, with many criticisms levelled at the inconsistent tone and ridiculous storylines (fake-pregnancy sub-plot, we’re looking at you), many of these issues have been remedied by Hell-O (the episode which opens this collection). Among the many highlights of Volume 2 are The Power of Madonna – an episode devoted in its entirety to the career of the titular star, Dream On – a Joss Whedon directed episode dissecting the characters’ individual aspirations and a finale which simultaneously fulfills and begs for more.
Jane Lynch delights as she chews scenery, Lea Michele lends credence to the suspicion that she may embody the most compelling character ever to grace the airwaves and Mike O’Malley (who plays Chris Colffer’s Kurt’s father) continues to choke throats at an accomplished rate. The actors have settled into their roles, making the often bipolar tone of the show less jarring than it had been previously; and while the show’s many quirks continue – on occasion – to undermine the often serious subject matter, it is to a far less grating extent.
There are, however, still issues. Along with the occasional diffusion of austerity through song and dance, there is a disproportionate attention paid to certain cast-members over others. While this is often acknowledged onscreen – as a knowing wink to the audience – you cannot help wishing that the showrunners might practice as Mr Shue preaches and offer more dialogue and dittys to characters other than Rachel, Finn (Cory Monteith) and Kurt.
Although this is a small gripe, and one which can be easily rectified in later seasons, it is nevertheless telling that – after watching this Volume for review and the season as a whole for my own personal Gleekdom – I had to wikipedia the names of two ‘main’ characters: the pencil-drawn Mike and Matt.
By now it would be a largely pointless exercise to attempt to win over those as-yet uninitiated with the series. For those able to appreciate the knowing humour, tongue-in-cheek melodrama and lovable characters, however, Volume 2 presents Glee at its finest. Messy at times, but endlessly entertaining, Glee is so full of inspired moments and winning characterisation that being a Gleek is always worth the occasional misfire – whether you like Marmite or not.
Aside from the nine episodes comprising Volume 2, the collection also offers a series of special features. Unsurprisingly, many of these extra’s focus on the music of Glee; with Glee Music Jukebox – which allows you to jump to any of the songs featured in this half of the series, and Glee Sing-Along Karaoke – which includes the songs “Alone”, “Somebody to Love”, “Keep Holding On” and of course “Don’t Stop Believing”.
Staying in Step with Glee allows you to strut your stuff in the comfort of your own home, while should you also wish to dress like your favourite Gleek – there is an extra which caters for that, too.
For those of you over the age of eleven and not partaking in a guilty dose of alcofrolics, the collection also features an interesting making of doc titled Unleashing the Power of Madonna. Making of a Showstopper, meanwhile, delves behind the scenes into the creation of showstopper Bohemian Rhapsody.
