Ladies and gentlemen, the secret's out! Mrs. Maisel, comedy's brightest new star, has just dazzled her largest audience yet with a raunchy, midnight performance at the Concord, a jewel in the Borscht Belt's crown. Oh, and did I mention? Her father was in the audience, taking it all in. As 'The Marvelous Mrs. Maisel' reaches the halfway mark of its second season, Midge stands at a pivotal moment in her life, one that threatens to bring more heartache than her split with Joel. She's just emerged from the most triumphant stand-up performance of her fledgling career—and her father appears ready to disown her. His anger isn't the issue, oh no, it's much deeper. He's disappointed, devastated that his seemingly proper daughter, as her pal Lenny Bruce would say, "has been seduced by the dark side of the microphone."
For viewers, Abe's discovery brings a sense of relief, as the novelty of watching Midge juggle her double life as a Jewish socialite and a bawdy comedienne had begun to wane. But Midge's own fear is palpable. This is the first time we've seen her truly anguished, as her bond with Abe may be forever strained. And all thanks to Tony Shalhoub's masterful portrayal of Abe's despair, conveyed through mere glances in the closing moments of "Midnight at the Concord" (not to mention the feat he achieved while sporting a blue Polynesian shirt and matching lei). Midge knew this day would come if her parents discovered her secret, and now she must weigh the cost of their disapproval against the joy she finds in stand-up comedy.
The episode "Midnight at the Concord" is filled with other events, but none compare to the pivotal moment when Midge makes her Borscht Belt debut. For as much as she may think she loves the monotony of badminton and Simon Says, neither compares to the thrill of working at B. Altman's makeup counter—or a stand-up set at a prestigious hotel. I'm sorry to break it to you, Midge, but you're thriving on independence. And now, with no more secrets to hide, I'm eagerly anticipating what lies ahead.
So, yes, there's a spark between Midge and the enigmatic Benjamin, shared during a nearly silent drive back to Manhattan early in the episode. Why the hasty departure from the land of pastel classes and endless plates of fries? Midge, dressed to the nines in her Jackie-Kennedy-at-Hyannisport attire, is abandoning her "children" once again to fill in at the coveted Revlon counter, as two girls fell ill and one quit after Mrs. O'Toole's firing. And Benjamin? He's out of cereal (and he hates the Catskills).
But you know what Benjamin does love? Midge's radio riffing and her ability to match her shoes to her purse. He invites her to the theater, but they get bored and catch a Lenny Bruce show instead. Now, I know the intention of having Luke Kirby's Bruce as a character on 'Maisel' is for him to serve as a sporadic comedy mentor for Midge; having him around constantly would diminish his charm. But, oh man, those fleeting Lenny-Midge scenes are pure gold.
Lenny, exuding irresistible charm, achieved what Susie couldn't, compelling Midge to confront the realities of her double life. Though struck by her protégée's feat of "landing a doctor" in the Catskills, he inquisitively probed if she had disclosed her nocturnal endeavors to Benjamin. If not, did it imply a readiness to let go and embark on a new path, resembling Donna Reed's wholesome image? ("I'm hopeless at making Jell-O molds," Midge retorted with a wry smile.) But even Lenny, upon encountering Benjamin, conceded that Midge had struck gold with this Jewish gentleman, exclaiming, "He's a stunner!" before melting into the crowd.
Whatever Lenny's words entailed, they were effective. Shortly after seating Benjamin in her favorite booth at the Stage Deli and navigating the tricky terrain of her connection with the legally embattled comic (Benjamin: "So, Lenny Bruce." Midge: "No, sir."), she shed her façade. It was a moment of unprecedented wisdom from her this season. "I'm a comedian," she blurted out in response to his invitation for a second encounter, confirming it as New York's worst-kept secret. Benjamin was intrigued.
Susie, however, was enraged. After tirelessly toiling to secure her client a spot at the Concord, Midge failed to inform her of her return to Manhattan? Thus, when Susie finally reached Midge's apartment, she unleashed a signature Amy Sherman-Palladino tirade, a verbal tempest encompassing indoor skating rinks, Jews wandering the desert, a hypothetical Midge murder plot, and the phrase "What the hell?" (It was fitting that Sherman-Palladino penned and directed this episode.) It was a masterpiece, brilliantly delivered by Alex Borstein. Seriously, Midge, a tad more professionalism next time, please.
Nonetheless, Midge made her way back to the Catskills for a pivotal performance. And it was here that Rachel Brosnahan reminded us why she deserved her Emmy. This scene transcended Midge's usual uproarious therapy sessions disguised as stand-up routines. Midge spotted her father in the audience early on (Abe had fled to the Concord to escape another tedious dinner with Moishe and Shirley Maisel), and she was instantly flustered. Yet, she delivered a stellar performance, weaving sex jokes around her parents while containing her mounting emotional turmoil.
Midge descended from the stage, numb to the deafening applause and Susie's jubilation. But she was no longer the self-assured comedian. She had reverted to a little girl who had shattered her father's heart, and even Susie could sense the looming "trouble." In the backseat of Abe's car, with the plunger as their unlikely companion (hey, it deserved a night out too!), our dynamic duo gazed into the abyss of an uncertain future.
