Review of Episode 13, Season 3 "Waiting In The Wings" First, a little history lesson: The ballet in the early 19th century, prior to the composition of Giselle, slowly progressed over a period of two decades; from original dramatic plot, early romanticism and the evolution of the dances, soon followed by the first ballet to have strength within the music. Previously, ballets were set to a collection of danceable popular tunes that were unrelated in musical style, but with the world premiere of Giselle at the Paris Opera in June of 1841, (nineteen years before Angelus would attend its performance), it set a new course. The ballet was conceived by the influential French poet, author, critic and possibly the greatest champion of the Romantic ballet, Théophile Gautier. Giselle was created to honor the ballerina Carlotta Grisi, whom Gautier not only admired for her dancing, but with whom he was in love. This is undoubtedly the theme behind Waiting in the Wings; the undying obsession of unrequited love (on the part of Count Kurskov), but the way Joss has worked this scenario to follow through to the rest of the characters and their current emotional stations is very impressive on a writing level. Even the title is a prelude to their resulting individual states; Wesley is now 'waiting in the wings' for Fred, while Angel is perhaps now waiting for Cordelia. Joss is a true lover of the arts; he is the true aficionado. It goes without saying that WITW clearly showcases Joss as the incredible storyteller that he is. WITW is rich and complex, and it expands upon the imagination. As you watch it you are riveted to the story itself and propelled along with its characters. I like the fact that Joss is not afraid to let the characters of Angel refer back to their Sunnydale pasts. Angel recalling his pre-possession from, I Only Have Eyes For You. I also like that he allows them to be aware of themselves. Joss has always stated that a key factor to both series is that the characters are allowed to grow and move on. The writers enhance it, the viewers see it, but also the characters themselves are aware of it. Cordy reflects on the days when Wesley was smitten by her, they both acknowledge her growth as a woman and now 'superhero' and they both know how this has changed their lives, perhaps for the first time, allowing them to really grasp the consequences of their choices, something Buffy's been dealing with all along. The one thing lacking that I so expected were flashbacks, as we've had very few this season. To see Angelus watching the ballet and feeling emotion, if he indeed did cry, at its performance would not only have been poignant but unique. Also, the benefit of Joss taking the director's seat is his distinctive perspective of the camera lens but aside from the gang's entrance through the theatre, only one shot stands out; Wesley's discovery of Fred and Gunn. As we see the two embraced in a kiss, Wesley walks into frame, although his direct face is hidden from the camera, we see his reaction reflected in an adjacent mirror as Fred and Gunn pull from focus. The result is exceptional. The Wesley, Fred, and Gunn triangle has been slowly heating up over the first half of the season and it wasn't too much of a stretch guessing which way Fred would choose. Also, just as unenlightening was Cordelia's feelings for Angel, never have I expected or sensed that she was anything more than a friend to Angel, though where his feelings stem from I'm not really sure or how honestly I believe them to be. Either way we'll never know now that Groo [Mark Lutz] is back in the picture. Which also lends credence to my whole, "give the visions to Groo" theory. But that's for another episode. Something that subtlety stood out was the pace of the episode. Typically, more often than not, we start with an easy-going beginning to set the stage, then between the 2nd and 3rd acts we take a notable turn and the pace quickens to a climactic conclusion. Here, we are blessed with a steady pace throughout, letting the story play through emotionally as opposed to the visual and physical sensory appeal we normally ride. Your senses are not tossed one way and then rocketed another, instead you find yourself latching on to each scene not knowing what to expect and then satisfied with each turn, and hooked into the next. In additional to the marvelous compositions of Gautier, which Robert Kral has so masterfully reworked into this episode, is Krals' own thrilling accompaniment. There are a bevy of emotions that span throughout the music from the light hearted romantic pieces between the love-torn trio, the passionate ensemble that accompany Cordy and Angel's possession to the mysterious break with Lorne and the maniacal fight scene with the Comedy and Tragedy demons. These intermixed so brilliantly with the ballet score (and the amount of ballet that the viewer is exposed to is quite a lot at just over 3-minutes), we certainly don't painfully squirm thru it as this shows the creative genius behind Krals' work. Hats off to Alexis Denisof for the most Outstanding Emotional Performance. His heart doesn't bleed on his sleeve but his subtly pain is so compelling as it takes Wesley thru the gamut in just one episode was tremendous on Alexis' part. And seeing him test his mettle with an Epee is always a pleasure. Finally, we are treated with your less than typical gory demon. Here another unique entry into the Beastiary comes with the Comedy and Tragedy demons. Robert Hall and Dayne Johnson pull out all the stops, making something sinister and evil, yet mysterious at the same time. Wizardry at its best; it is reminiscent of the vampire players in Interview with the Vampire who dawned Lestat's stage, hauntingly simplistic yet frightening. VIP Addition: We couldn't go without talking to Rob Kral about his fantastic contribution to this episode, Joss never makes it easy on the boy, so here's what he told us: "A lot of the Ballet was my material, but some was from Giselle. The first scene after the curtain rises was real ballet Giselle by Adolphe Adam. There are some scenes of the Ballerina dancing to the real Ballet, but there are also many scenes of her dancing where it's my stuff. I had to write a score that sounded like Ballet: i.e. the dressing room stuff, all the music with Angel and Cordy etc, and where the Ballerina changes the dance." I give it... Review by CoA Council member, Swoop

CoA Stakes Rating Guide = Disappointing, stake it, bury it! = Not too bad, Lacking a few graves. = Typical Dark Avenger saves the day Saga. = Better still, Quality Headstones. = Outstanding! Reward it with mortality!

Wesley: You're an extraordinary woman. I.. (uncomfortable) Cordelia: At ease, soldier. Just like to hear it every now and then. I was the ditziest bitch in Sunnydale, could have had any man I wanted. Now I'm all superheroy and the best I can get is an invisible ghost who's good with the loofah. Wesley: (raised eyebrows) I'm sorry. I missed that last part. Cordelia: (embarrassed) You are a gentleman. Angel: Who's doing what with a loofah? Wesley: Not loofah. Loo...fah...noocth...skmuh...demon Angel: (on the Blinnikov Ballet) I saw their production of Giselle in 1890. I cried like a baby (pauses) and I was evil. Fred: (grinning) I think it sounds exciting. Wesley: Yes. Gunn: No. No! This is not Mata Hari. This is tutus and guys with their big-ass packages jumping up and down. This is just... I will never trust you again. The trust is gone. Cordelia: Oh, get over it. Do we get dressed up? Angel: Of course. Cordelia: I'm in. Angel: Guys, seeing the ballet live, it's... it's like another world. Gunn, these guys are tight, and you're going to be tripping out. Gunn: Don't be using my own phrases when we've lost the trust. Cordelia: (to Fred) We could always get our outfits at "Cavegirl's House of Burlap" but that's just so last season. Angel: (on sitting so far away from the stage) Back in the day, I'd always get box seats. Or I'd just eat the people who had them. Cordelia: Don't let's reminisce. Cordelia: (snapping awake at the ballet) I loved it. Angel: It's just intermission. Cordelia: Oh. (looking at Angel's jacket) That's not drool, is it? Angel: It's okay. It matches the back. Wesley: (about the ballet troupe) So what are we thinking, vampires? Cordelia: Well, they're not a deeply tanned bunch. Gunn: That would explain the precision and the athleticism. I mean, some of those jumps were... You know, I was cool before I met y'all Angel: I was thinking now. You guys should go back. I'll snoop. Cordelia: I'm with snoopy. Magic of the ballet, not really getting to me. Wesley: How will the dancers keep time without your rhythmic snoring? (all snicker) Cordelia: (about the guard) You want I should distract him? Make with the nice-nice while you slip by? Angel: Don't be stupid. I'm that guy, and the most beautiful woman I've ever seen is making eyes at me? It's either a bachelor party or a scam. Cordelia: What did you just call me? Angel: I'm sorry. You're not stupid. Cordelia: No, after that. Angel: I think I'm just going to have to go with my patented sudden burst of violence. Cordelia: (after a passionate session with Angel) Open the damn door. Angel: Kinda hard... Cordelia: Kinda noticed... Lorne: (singing to Connor) Go to sleep. Lullaby. You've been fed and you're sleepy. You'll be with Uncle Lorne, who in no way resents not being asked to the ballet. Certainly not thinking of selling you to the first vampire cult that makes him a decent offer. Cordelia: (on the spirits in the room) We have to go back in. Angel: I'm marveling at the wrongness of that idea. Cordelia: You want to wander around backstage like Spinal Tap for the next...ever? Angel: I'm sure there are other rooms that... Cordelia: All we have to do is play the scene. Get in, get out. No one gets happy. Angel: What if there is no more talking in that scene? Look, I've been possessed by the spirits of old lovers before. It never goes well. Cordelia: Well, I've got my little cross if things get out of hand. Hey.. It's awkward, but it's not us. So long as nothing is removed or inserted, it's all forgotten. Angel: It is us, Cordelia. It's you and me. Kissing you, its... It's not something I can just... Cordelia: Oh, come on. It's not that horrible. Up to his ass in demon gore-fine, but ask him to mack on a hottie, and he wigs. My champion ladies and gentlemen. Angel: (after he stabs one minion and throws a dagger, killing another) You all right? Cordelia: Yeah, we've got to move. Angel: You think they're not dead? Cordelia: You just looked really hot doing that. Quotes by Council member, Seeker