TV Review--Galavant

You know a TV comedy is in trouble when the commercials for the show tout the presence of “guest stars” like Rutger Hauer.  Nothing against Mr. Hauer, who is a fine actor and has had a notable career in Hollywood, but if his name is being used to lure people to a sitcom, that’s a bad sign.

But that’s what the commercials for Galavant touted, along with other guest stars like John Stamos and Weird Al Yankovic. The reason they were emphasizing the guest stars is that the actual stars were all people you've never heard of, except possibly Timothy Omundson, who did excellent supporting work on Psych for eight seasons.  Also, selling a musical spoof of medieval fairy tales is a tough sell, so I guess you push the better known names and cross your fingers.

The concept of a large-scale comedy “event” isn't a new one, but it is unique enough to count as innovative programming by a broadcast network.  In 1986 someone attempted to make a comedy miniseries that was a parody of the pompous historical miniseries of the time called Fresno; it is now a cult hit, meaning that it flopped. And medieval parodies have been on TV before, notably Wizards and Warriors in 1983.  But a multi-episode musical spoof of medieval tales? That is relatively unique (and yes, I realize that is an improper use of the word unique; sue me).

Galavant stars Joshua Sasse as the titular character, a knight who is depressed since his true love (Mallory Jansen) dumped him to marry evil King Richard (the aforementioned Omundson). Another princess (Karen David) rouses him from his funk by asking for his help, and in no time he is off jousting, fighting and singing.

Yes, singing.  This is a musical, with songs attributed to eight-time Oscar winning composer Alan Menken.  However, I don’t think Menken will be picking up any awards for the songs from Galavant, even if the Emmy category for Best Song is less prestigious than the Oscar.  How generic is the music? During the first episode of Galavant ABC took the title melody, made up new lyrics, and used it in commercials for other ABC sitcoms.  If it is that easy to come up with new lyrics to match the tune, then the composer isn't trying too hard (as a comparison, try making new lyrics for any of the complicated tunes from Into the Woods).

Virtually the sole source of humor in the show is anachronistic dialog in the fairy tale setting, which the writers don’t appear to realize is not funny in and of itself. The fairy tale setting in a musical with links to Disney would seem to attract a younger audience, but much of the dialog is too suggestive for kids.  It is too sophomoric for adults and too suggestive for kids, so what does that leave? It’s like the opposite of The Princes Bride, which appealed to young and old alike.

The acting, mostly by actors without a long resume, is unimpressive.  Sasse is occasionally able to project the rakish charm the writers were aiming for, but mostly he just grins.  David does a nice job as the liberated princess but isn't given a lot to work with. Omundson seems to be trying to play his part bigger than it was written, which doesn't work when working with minimalist actors like Vinnie Jones.

The first two episodes did not thrill me, so, what’s left? I guess I’ll have to keep watching and wait and see if that Rutger Hauer guest spot is really worth the wait.