Review: “Central Park” on AppleTV+
Noah Golden, OnScreen Blog Critic
Musical television shows are very tricky to pull off. You usually either have already-existing songs shoehorned into an original plot to mixed results (like "Glee" or "Zoe's Extraordinary Playlist") or ones that use music for sporadic, comedic or parodic effect. Many animated shows have done this rather successfully like "The Simpsons,” “Big Mouth” and "Bob's Burgers." But Loren Bouchard has taken it a step further in his new comedy, "Central Park," which begins streaming May 29th on AppleTV+.
This one is a fully-formed musical in every sense of the word. Each 30ish-minute episode features three-to-four wholly original songs that advance the plot, expand characterization, and spring organically from the story. It's clearly produced by people who are excellent at making animated comedy and care deeply about the art form of musical theater. It is the best example of a pure musical TV series since the sensational "Crazy Ex-Girlfriend," even if the four episodes made available for critics didn't nearly plumb the depths that Rachel Bloom's surprisingly sincere dramedy eventually did.
"Central Park," which comes from Loren Bouchard and Nora Smith (creator and EP, respectively, of "Bob's Burgers") as well as actor Josh Gad, shares some similar DNA with Bouchard's wildly successful Fox comedy. Both are cartoons with a live-action, family sitcom sensibility. Both share the same style of animation with thick-lines and overbites (as a fairly chinless adult, I appreciate the representation). But the writing pulls them apart enough that "Park" doesn't feel like a "Burgers" spin-off. Where the humor in "Burgers" is often dry and quirky, "Park's" is gentler, quicker and a bit less crude, while the characters are more subtle and grounded (with one villainous exception). Both, though, share a big heart, some very funny moments and attention to character over plot, which makes viewing a real pleasure. I often find myself drawn to darker, depressing TV series and watching both these shows as research over the past few weeks have been a much-needed oasis in these troubling times.
"Park" follows the Tillermans, a fairly regular family were it not for the fact that they live smack dab in the middle of that aforementioned New York landmark. Dad Owen (voiced by Leslie Odom Jr.) is a sweet, mild-mannered, anxious park manager while mom Paige (Kathryn Hahn) is a headstrong local journalist hoping to crack that one big story. Their biracial, preteen kids Molly (Kristen Bell) and Cole (Titus Burgess) are both kind and a little awkward. Molly draws comic books, a fun way for the animation team to occasionally switch up styles, instead of talking to her crush while Cole's attention is stolen by Champagne, the small dog of a rich society lady named Bitsy Brandenham (Stanley Tucci), who runs away in the first episode. One smart decision the "Park" writers made was creating one central storyline over the season rather than the television animation norm of separate, standalone episodes where things are reset after every episode. This not just allows for better character development but gives the first four episodes a nice momentum. Quickly, Bitsy becomes the primary antagonist with a complicated plan to buy Central Park and turn it into condos and retail. Even her lackey Helen (Daveed Diggs) has a plot of her own.
The voice work, all done by terrifically talented Broadway vets, is excellent. Bouchard wisely has many of them playing against type, so it's fun to hear Burgess, who usually plays flamboyantly confident characters, voice a shy kid or listen to Odom Jr.'s suave, velvety tenor inhabit a neurotic, bumbling father. Tucci, on the other hand, goes full camp, giving Bitsy a high-pitched, siren of a voice. There's also some fun Broadway talent who pop up in smaller roles, including a wonderful cameo and song from another "Hamilton" castmember.
Did I forget to mention that Josh Gad also often pops up Birdie, a busker, and the show's fourth-wall-breaking narrator? Perhaps the idea was amusing on the page (think a milder, goofier Officer Lockstock), but in execution, Birdie almost always feels like a distraction. He does help set up some exposition and, thankfully, his role diminishes over the first four episodes, but Birdie's direct-to-camera, pun-laden bits were the only time I found myself antsy. Like many Josh Gad characters, your mileage may vary whether you find his voice and persona endearing or grating. That remains true here as well.
I'm also not sure the whole thing would be as memorable if not for the songs. Written primarily by Kate Anderson and Elyssa Samsel – who wrote the music for the animated short "Olaf's Frozen Adventure" and the upcoming Jodi Picoult musical "Between the Lines" – the score is vibrant, fun and eclectic. It's also musically and lyrically sound, which is very admirable since most original songs on TV shows use paint-by-number chord progressions and bad slant rhymes. The show's establishing tune "Central To My Heart," a nod to the "Beauty and the Beast" opener, sets the tone nicely for a series of songs that mostly stick to the language of contemporary musical theater (think "Dear Evan Hansen," "Waitress," or "Hamilton" with maybe a little millennium-era Disney thrown in). The jaunty "Mama's Got This" from Episode Three is a standout and there are a few witty rap numbers that Lin-Manuel would approve of. Three of the four episodes also feature songs written by guest composers.
Although I've been asked not to reveal names, I’ll mention that Episode Two's "Weirdos Make Great Superheroes" is my favorite of these and a genuinely terrific song. The best number, though, is "Own It," an Episode One I Want song that has been stuck in my head for 24 straight hours. It not just does a bang-up job establishing motivation for all four Tillermans, but culminates in one of those great overlapping sections "Man Up" so memorably parodied. Besides, the lyrics are great. A sample from mom Paige at her first big press conference: " gonna bust in headfirst like a badass boss lady mom of two, like a one-chick Bernstein and Woodward too. I'm gonna own it, gonna get in hone it and then own it. Gonna put my foot down like my pits and my bits aren't schvitzing now. Holy cow, I'll finally show them how I own it." There were no real clunkers in the 15 songs (minus an occasional reprise) released so far, only a few (mostly from Episode Four, the weakest overall) that were largely forgettable.
It's probably during "Own It" that I realized "Central Park" was a special show. It is not nearly as laugh out loud funny as "Big Mouth" or as brazenly weird and deep as "BoJack Horseman," but perhaps that's what makes it work. It's not raunchy, philosophical, or political in a hot-button way; it’s the kind of show that is hard to make but very easy to watch. Only four of the show’s ten episodes were made available to screen and I’m very curious if the style or arc will change over the season. The Bitsy storyline does tie everything together and is the only place the writers insert any kind of overarching political views about socioeconomic disparities and gender (the most barbed line comes from Bitsy: "I'm constantly ignored, no one sees my genius. I'd like to be adored, must I grow a penis?"), but the characters seem strong enough to go in a myriad of directions plot-wise.
I look forward to more "Central Park," as it’s the kind of show a lot of us are craving right now. It’s fun and funny and a joy to watch. It’s a show that will make your day a little brighter.