I admit: I used to be solely an informal Buffy the Vampire Slayer viewer. In the course of the present’s run (1997-2003), I tuned it every so often, discovering nice enjoyment of Sarah Michelle Gellar’s splendidly empowering flip because the titular vampire hunter, nevertheless it was by no means an obsession amongst my core group of buddies. I’ve, after all, come round to the present since, and its fantastical storytelling holds a particular place in my ghoulish, chilly coronary heart. Greater than some other episode, it’s the much-lauded “As soon as Extra, with Feeling,” a musical extravaganza bursting with heart-pounding choruses and aw-shucks quirk, that I maintain most pricey. Twenty years later, it stays one of many best episodes of tv and musicals ever created.
The facility of musicals programs in my DNA. I grew up transfixed by such landmark cinematic feats as The Rocky Horror Image Present, Little Store of Horrors, and The Wizard of Oz, in addition to Broadway productions like Into the Woods and Lease. So, think about my wonderment in beholding “As soon as Extra, with Feeling” for the very first time. Image this: a wide-eyed, very inexperienced, and completely “straight” 18-year-old witnessing the sweeping, orchestra-driven opening quantity and being remodeled as one is after a baptism. “I simply wanna be alive!” Buffy bellows, as she wanders aimlessly by way of a fog-imbued cemetery, knocking off varied lifeless issues. These phrases, that efficiency, Gellar’s command onscreen despatched a shiver down my backbone. I knew I used to be in for fairly a experience, however I by no means anticipated such thrilling musical compositions befitting a high-budget Broadway present.
In the summertime of 2004, I labored as an intern for an area stage theatre firm and befriended resident Buffy stans Allison and Alan, two good buddies nonetheless to this present day. I keep in mind the expertise prefer it was yesterday and the way they gushed unapologetically concerning the present and this must-see musical bonanza. If reminiscence serves, it began when Allison, the costume store supervisor and designer, belted alongside to the soundtrack taking part in by way of the corporate CD boombox. I can see all of it now: Allison toiling away on a bit of material on the stitching machine whereas harmonizing with “I’ll By no means Inform,” her voice carrying all the way in which up the stairwell to the theatre foyer. I’d by no means heard such rhapsody; clearly, I adopted the sound of her voice, quickly to find what would develop into a defining second of my younger maturity. A number of days later, Allison invited me over to her place to witness the episode for myself. It’s not hyperbolic to say that I owe her every little thing for altering my life.
With music and lyrics completely written/composed by present creator/director Joss Whedon, who has just lately been accused of on-set abuse, “As soon as Extra, with Feeling” depicts the haunting of a musical demon, who forces the townsfolk of Sunnydale to spontaneously break into music. Buffy has just lately been resurrected from the bowels of Hell, because of Willow (Alyson Hannigan) utilizing magic, and finds herself with the opening music “Overture / Going By means of the Motions” feeling listless and torpid about her life. She’s far much less impressed as of late to save lots of the world, and even the chilly lifeless ones trailing behind have picked up on this cosmic shift. “I’ve been going by way of the motions, strolling by way of the half. Nothing appears to penetrate my coronary heart,” she laments. Two vampires and a demon admit in response, “She does fairly nicely with fiends from hell, however currently we will inform that she’s simply going by way of the motions, faking it by some means.”
The emotional set-up teased the episode’s thematic strengths, notably the dissection of despair and nervousness. Solely a 12 months previous to watching the episode, I’d discovered myself almost as lifeless as Buffy. Her outright admission of her situation was a brave first step, later to return full circle with the wonderful finale “One thing to Sing About.” In the summertime of 2003, I first tried to kill myself, gobbling up a bottle of Tylenol to alleviate an analogous form of mysterious monster. Even now, I’m not even certain the place such suffocating, dreadful ideas got here from; it was as if a demon, as soon as lurking solely within the shadows, had, in its hour, lastly sprung to eat me entire. I nonetheless wrestle most days, however “As soon as Extra, with Feeling” stays a vital supply of nice consolation, particularly the soundtrack.
With Buffy’s string-bound show-stopper, Whedon additionally primed you for the form of musical feast during which you had been about to partake. Emotional lyrics contrasted as a blanket of stars in opposition to the darkness swirling with the orchestra, heavenly but remarkably eerie. Instantly, the characters notice that maybe random musical numbers weren’t fairly regular and collectively, they brainstorm for an answer with the primary ensemble piece, “I’ve Acquired a Concept,” laced with Anya’s (Emma Caulfield) playfully absurd rock musical eruption “Bunnies,” detailing her concern of bunnies and their “twitchy little noses,” earlier than segueing effortlessly into the saccharine, guitar-hooked “If We’re Collectively.”
“We’ve to attempt. We’ll pay the worth. It’s do or die,” the forged sings in unison, earlier than Buffy reminds everybody, “Hey, I’ve died twice.” Buffy walked by way of literal fireplace and lived to inform the story, her playful self-deprecation however. It was at all times her selfless nature and proclivity to sacrifice her personal life that made her an iconic hero 一 however even heroes battle internal darkness. The stress to be the hero turns into a narrative linchpin, and with nothing left to lose, she carries the cross anyway.
The stakes rise even greater when Buffy learns the whole city has been taken hostage by musical torment. Townspeople break into music about mustard stains (“The Mustard”) and getting a parking ticket (“The Parking Ticket”), humorous bite-sized items resulting in the episode’s grander and extra important beats. Claiming to have a “volume-y textual content” about “mystical chants and boknals” again at their home, Tara (Amber Benson) and Willow, giddy and in love, rush off into the afternoon solar. As a substitute of doing something helpful, Tara launches into the tangy candy “Below Your Spell,” declaring how a lot Willow modified her life. Benson’s smooth vocal is pulverizing, slipping into her head voice as an angel really blessed. “Your energy shone brighter than any I do know,” she coos.
The next day, Anya and Xander (Nicholas Brendon) get pleasure from an early-morning snuggle earlier than breakfast. “Will you continue to make me waffles once we’re married?” Anya asks her groom-to-be. “I’ll solely make them for myself, however by California legislation, you’ll personal half of them,” he quips, giving her a fast peck on the nostril. Their irritation with one another bubbles proper under the floor, and the one approach they’ll correctly talk is thru music, after all. “I’ll By no means Inform” emerges as one of many cheekier moments with Anya and Xander lastly confessing their many pet peeves for each other. Their most hilarious change is under:
Xander: “I discuss”
Anya: “He breezes”
Xander: “She doesn’t know what please is”
Anya: “His penis obtained ailments from a chumash tribe”
Structured in a name and response format, ceaselessly present in common music (The Who’s “My Era” is a standard instance), Xander and Anya come to a mutual understanding. In venting their long-held grievances, together with the admission they’re really “petrified” to get married, they discover validation, and their love solely grows stronger and extra resilient. Whedon additional pulls the proverbial rug out from underneath the listener/viewer with an “Something You Can Do I Can Do Higher”-approved face-off. “Have a look at me! I’m dancin’ loopy!” barks Anya, scooting her furry slippers throughout the ground. The absurdity of the second punctuates the emotional fact rumbling underneath the floor. In the long run, the payoff is nicely price it. “I’ve tried, however there’s these fears I can’t quell,” they sing, coming collectively. When you weren’t charmed earlier than, you certain are actually.
Unable to search out the solutions on her personal, Buffy confronts Spike (James Marsters), her former nemesis, who’s now in love along with her, later that evening to search out out what he thinks concerning the unusual occurrences. “Come to serenade me?” he asks, then provides her a swill of whiskey. “I stay immune, pleased to say,” he provides. Humorous sufficient, he pours all his frustrations over unrequited love into the roak-soaked “Relaxation in Peace,” a lot to Buffy’s seen displeasure. Mid-song, the 2 finally make their technique to the cemetery throughout a funeral procession and fall down into an open grave. “I died so a few years in the past. You make me really feel prefer it isn’t so,” he begins, unraveling his tattered heartstrings. However Buffy stays unmoved, paralyzed by her personal anxiety-addled ideas to even entertain the notion of affection, a lot much less with Spike.
In the meantime, Tara suggests to Buffy’s little sister Daybreak (Michelle Trachtenberg) that Willow “has a lead on the entire musical extravaganza evil 一 this demon that may be summoned. Some Lord of the Dance,” she says. Daybreak, pondering she could also be the reason for the group’s troubles, deflects to carry up a earlier dispute between Tara and Willow. “I’m glad you guys made up,” she plasters a large smile on her face.” Tara is stunned, “What?” “That combat you guys had about magic and stuff. It provides me stomach rumblings whenever you guys combat.” Suspecting Willow of erasing her reminiscence, Tara rushes off to the Magic Field, leaving Daybreak alone along with her personal impenetrable unhappiness. “Does anyone even discover? Does anyone even care?” she weeps over a somber acoustic guitar on the tender “Daybreak’s Lament,” abruptly interrupted by three of the dancing demon’s minions, appropriately dressed as Slappy the Dummy.
Daybreak’s expression of her personal despair right here suggests how frequent it hides in plain sight. Those that seem superb on the floor, very like such artists as Robin Williams, are aching and solely desirous to be heard. These refined, however apparent, clues are a part of what makes “As soon as Extra, with Feeling” such an excellent episodic journey. It’s excess of combating some unknown entity, however it’s what lies beneath the conspicuous disturbances that requires equal consideration.
Captured and certain, Daybreak is then transported to The Bronze the place she launches into an interpretative dance in opposition to the nightmarish musical interlude, “Daybreak’s Ballet,” in her try to flee. It’s all for naught, nonetheless, and she or he quickly comes face-to-face with the demon, merely generally known as Candy (Hinton Battle), making essentially the most further entrance with a tap-dance routine to “What You Really feel.” His zoot swimsuit is trendy and completely pressed. Candy charms his approach with a jazz lounge act, and also you virtually overlook he’s the villain of this saga. Nearly. “I come from the creativeness, and I’m right here strictly by your invocation,” he sings, inviting her to “dance some time” so he could make her his darling queen in Hell.
As she pleads for her life (“I’m fifteen, so, this queen factor’s unlawful,” she sings), Daybreak by chance lets it slip that her sister’s the slayer. “Discover her!” he tells his ventriloquist henchmen. “Inform her… inform her every little thing.” They rapidly scamper off into the evening.
Whereas working by way of private troubles 一 Giles (Anthony Stewart Head) realizing he should let Buffy lead in her duties to look after Daybreak (“Standing”) and Tara in her relationship with Willow (“Below Your Spell / Standing – Reprise”), Spike captures one of many dummies, who relays Candy’s devilish plans to the group. “Buffy’s going alone,” Giles pipes up. On this second, firmly believing Buffy possesses the facility to cease Candy, a lot to Spike’s protest, Giles forces Buffy to take cost even when she doesn’t fairly wish to. “You’re actually not coming?” she asks, visibly damage. “It’s as much as you, Buffy,” he replies, quietly stern. “What do you count on me to do?” “Your finest.”
Nonetheless reeling from this harsh actuality, and contending with ongoing psychological well being, Buffy forges forward into the chilly, darkish evening and embraces regardless of the future is perhaps. “Stroll By means of the Fireplace” reads as Buffy’s swan music, her remaining cry as she rides into battle. Her very life is on the road, and whichever approach the dominos could fall, she prepares for each risk. “Why can’t I really feel? My pores and skin ought to crack and peel / I need the fireplace again,” she pleads. It’s like a swap, a psychological flip someplace down a cavernous gap in your soul. When you’ve tried suicide, and lived, there usually comes a monumental shift in perspective about life and dying 一 at the very least from my vantage level, the final time I attempted to kill myself remodeled one thing inside me. You courageous ahead, even should you actually don’t wish to.
“Now, by way of the smoke she calls to me, to make my approach throughout the flame,” she sings, the music slowly constructing and burning brighter. “To avoid wasting the day or perhaps soften away. I assume it’s all the identical.” With these strains, particularly, Buffy takes possession over her psychological state and faces her predicament with function, even when she stays resigned to her lot.
Spike rapidly joins in, toiling over his personal plight, “The torch I bear is scorching me, and Buffy’s laughing I’ve little doubt. I hope she fries. I’m free if that bitch dies! I higher assist her out.”
Starting as her opus, “Stroll By means of the Fireplace” shouldn’t be solely a sterling solo showcase however the episode’s finest ensemble piece, as Giles, Anya, Tara, Willow, and Xander unite on the refrain and later have their very own one-off interjections. “So one after the other, they flip from me. I assume my buddies can’t face the chilly. However why I froze, not one amongst them is aware of and by no means might be informed,” Buffy sighs.
Many people with psychological well being points ceaselessly discover themselves remoted from the world, feeling as if these they love have deserted them; maybe, it’s the very fact of the matter, or it’s fully self-constructed delusions. In “As soon as Extra, with Feeling,” it’s fairly literal, and the characters quickly notice the error of their methods, as mirrored with the layering of vocal components within the final third of the music. Buffy’s strains start bleeding into Tara’s and so forth. One after the other, vocal strains tumble like a home of playing cards, in virtually a Stephen Sondheim complexity.
The group efficiency might be a finale in and of itself, nevertheless it’s nothing in comparison with “One thing to Suppose About.” A Buffy solo provoked in her confrontation with Candy, to whom she provides to change locations with Daybreak, it embodies Buffy’s emotions about life and dying. “The place’s there’s life, there’s hope. On a regular basis’s a present. Needs can come true,” she gathers up a renewed will to reside. “Whistle when you work. So onerous all day to be like different women, to slot in on this glittering world.”
Amidst her efficiency, Giles realizes she “wants backup,” with first Tara and Anya taking part in supportive dancer roles. Musically, “One thing to Suppose About” jarringly flips between introspective ballad and funky shake-down. Moments later, the manufacturing all crumbles away, leaving solely a piano and Buffy’s admission that she was by no means in hell to start with. “There was no ache, no concern, little doubt ‘until they pulled me out… of heaven,” she sings over a chilling minor chord. Buffy had escaped her personal private hell, raging like chained demons inside her cranium, and located true bliss within the afterlife. Gellar’s efficiency haunts me as she glides into the previous few strains: “In order that’s my chorus / I reside in Hell ‘trigger I’ve been expelled from Heaven,” she sings, reducing deep into the core of what it feels prefer to wish to die. You consider you’re nugatory, and a poisonous cycle of pondering turns into your individual self-imposed Hell.
This fact hits Willow like a ton of bricks as a lot it does the viewer, however what’s accomplished is finished. In consequence, Buffy is distributed right into a dancing whirlwind till she actually smokes 一 and solely Spike can cease her, grabbing her shoulders. “Life’s not a music. Life isn’t bliss. Life is simply this: it’s dwelling,” he sings, begging her “to go on dwelling, so one in all us resides.” It’s Spike’s outstretched hand that saves her. It’s not enterprise one more life and dying campaign. It’s not being left deserted, scrambling to uncover internal energy. It’s compassion from one other human being. It’s a help system. It’s the realizing that should you’re OK, you’ll have another person to catch you in your darkest moments.
Now, that’s one thing price singing about.
Tying up free ends, Daybreak subsequently claims (as soon as once more) that she by no means summoned a demon. “It was within the store,” Giles muses. “Then, one in all us in all probability…” He trails off for a second, and Xander slowly raises his hand behind him. “I didn’t know what was going to occur!” he whines. “I simply thought there have been going to be dances and songs.” He then provides to be Candy’s Queen. “It’s tempting,” the dancing demon considers. “I’ll suppose we’ll waive the clause simply this as soon as.”
Naturally, Candy takes the stage one final time with “What You Really feel – reprise.” “All these secrets and techniques you’ve been concealing. Say you’re pleased now, as soon as extra with feeling,” he croons with an intoxicating smokiness. His phrases grasp thick within the air, underscoring the entire arc of the episode: as soon as ridden with nervousness and despair, and feeling alone in her battles, Buffy involves larger appreciation for all times and people she loves. The somber “The place Do We Go from Right here?” and “Coda” flip the gaze upon the viewer and depart them to confront their very own position in all this. “The place will we go from right here?” the ensemble ponders, the music crescendoing with dramatic aptitude.
Twenty years on, Buffy the Vampire Slayer’s “As soon as Extra, with Feeling” manages to be a campy good time, a masterfully produced musical, and a provocative dialog piece about psychological well being. Since my very first viewing, I’ve listened to the soundtrack scores of instances and underneath very totally different circumstances, from the bathe to the morning jog, and like all nice musicals, the songs greater than maintain their very own. Regardless of Joss Whedon’s on-set habits, which is completely unacceptable and downright loathsome, he was nothing in need of a genius when he set about writing and creating one of many best musicals ever made. So far as I’m involved, “As soon as Extra with Feeling” is a high tier musical and proper up there with the likes of Little Store of Horrors.