Embarking on the journey of being Abe Weissman is no walk in the park. We are already privy to his meticulous nature and relentless quest for control. But imagine the chaos when his unwavering attention to detail clashes with his role as a father - especially to two grown children who, as we discover in "Let's Face the Music and Dance," are both leading clandestine lives. Even the soothing touch of tomato juice fails to ease his frayed nerves.
Granted, The Marvelous Mrs. Maisel remains Midge's narrative, but this episode, akin to "Mid-Way to Midtown," astutely redirects our gaze back to Abe. This time, he grapples with the revelation that his daughter is a "sharp-tongued comedian." While this discovery conjures haunting echoes of Dr. Houseman and Baby's tumultuous relationship, it transpires that Abe's ire is not half as fierce towards Midge as it is towards his son, Noah (Will Brill), who seemingly moonlights as a CIA agent.
In the heart of "Midnight at the Concord," Tony Shalhoub masterfully portrayed Abe's profound pain and disappointment, all without uttering a single word. The episode seamlessly continued from the previous one, finding Abe, Midge, and Susie returning to the Weissman's Steiner Mountain Resort cottage, right after Midge's triumphant stand-up performance. The air in the room was as heavy as the oppressive August humidity, as the two women anxiously awaited Abe's response, which never materialized. He silently sipped his lemonade and retreated upstairs, leaving Midge and Susie frozen in place. Their immobility was palpable, even as the exterior of the cottage transitioned from night to day, the change in time barely registering on their tense faces.
As dawn broke, Susie peacefully slumbered on Midge's lap, her dreams perhaps tinged with a fan's fantasies, as she mentioned a beaver and an ice skating rink in a possibly suggestive dream. Meanwhile, Susie had christened her plunger, a testament to her solitude in the cottage.
Shalhoub, a master of silent expression, also shines in his dialogue, as evidenced in his confrontation with Midge the following morning. One could almost feel Daniel Palladino's nod to the iconic "Dirty Dancing" scene in his writing and direction (both scenarios unfold by a lake, featuring a disappointed Jewish father and his rebellious daughter), yet Palladino elevated the scene to new heights. Midge confidently declared her joy in being discovered, proclaiming, "I don't want to hide it anymore." But this was 1959, and Abe remained steadfast in his traditional ways. For us modern women of 2018, it was difficult to watch as Abe insisted on maintaining control, ordering Midge to keep her stand-up career a secret from her mother until "I decide the time is right. I. Me. Your Father." It was suggested that Midge wouldn't be able to reveal the truth to Rose until, at the earliest, 1960. A bittersweet Hanukkah indeed. This confrontation highlighted the ongoing struggle Midge faced, balancing her desire for independence with the security of her parents' love and approval. Even at 27 years old, she acquiesced to Abe's demands.
Later in the episode, the camera steals a glimpse of Midge through the Steiner cottage window's reflection, resplendent in her stage attire of a Little Black Dress adorned with pearls, while Abe is engrossed in his reading. He glances up, their eyes meet briefly, and then she silently departs for another performance, unseen by us, as the scene's focus shifts. I sense Abe taking tentative steps towards acknowledging Midge's career, provided she adheres to his "stay under the radar" dictum. However, in reality, Abe's plate is overflowing with far more pressing concerns than a daughter who cracks jokes.
During a fleeting visit to Manhattan, Abe, accompanied by Noah, makes a detour to his office at Bell Labs. We learn that he's been pressuring his superiors relentlessly to employ his son. In a scene that undoubtedly boasts the most comical utilization of a door buzzer, Abe's self-importance is abruptly punctured by a team of legal and security representatives, informing him that not only does the janitorial staff enjoy a higher security clearance than he does, but also Noah will never be a Bell Labs employee due to his "involvement in a highly classified project for the United States government." This news is undoubtedly harsh for a man who had just boasted to Noah about his commitment to workplace diversity, boasting, "I almost hired a woman!" Perhaps Abe should have taken that opportunity, as it ultimately takes a woman, Rose, to extract the truth from Noah's naive wife, Astrid (Justine Lupe). Given Astrid's tendency to spill her guts with mere companionship, even at a solemn Tisha B'Av prayer service, this task hardly poses a challenge for Rose. (A quick reminder for those unfamiliar with Astrid's story: she converted to Judaism and takes Jewish holidays with utmost sincerity, akin to Charlotte York Goldenblatt.)
Let's rewind the recap once more: Midge, the rising comedienne, has her secret talent known to Abe but concealed from Rose. Rose and Abe are aware of Noah's CIA affiliation, though their understanding of his "lethal" capabilities remains hazy. Abe's ire seems more directed towards Noah than towards his daughter's ambitions.
Now, to the thrilling Steiner summer finale! There was an awkwardly stereotypical "Around the World in 80 Minutes" show, with Susie wearing a ruffled shirt and attempting a caricature of Carmen Miranda's backup dancer. (Midge quipped, "The world will judge us harshly for this someday." A prophetic observation, indeed.) And although the absence of Kellerman's Anthem was notable, a comic appeared on stage, inspiring Abe to consider Midge's chosen profession with a newfound openness. He queried his daughter, "Are you as humorous as him?" To which Midge confidently replied, "Absolutely." I dare hope that as long as Midge avoids the FBI, there's a chance for reconciliation between her and Abe.
But the true turning point was the episode's climax. After a graceful dance with Midge, Joel declared, "It's time we danced with someone else." I pray he meant it sincerely, as I'm weary of the repetitive cycle of Midge and Joel's separations and reunions. The novelty now is Benjamin's return to the Catskills, solely for Midge, while Joel observes their burgeoning romance from the sidelines. However, Joel's potential romance with fellow Steinerite Leah (Molly Brown) offers him a silver lining, enabling him to gracefully step aside when Midge walks into Benjamin's arms. Midge has moved forward, and I'm relieved to see Joel has too.
