As one might expect given her comedic prowess and theatrical experience, Bea Arthur makes for a very entertaining host. She fits in with the cast quite well. With the exception of a couple sketches ("First, He Cries" and "Woman to Woman"), she mostly plays support roles, but brings her A-game to all of them. She particularly impresses in "First, He Cries" as the lady doctor, a part that seems tailor-made for her talents.
The episode is mostly carried by the cast-Bill Murray and Gilda Radner, in particular. Murray and Radner lead "First, He Cries" together and are both featured prominently in "Backer's Audition". Murray gets some fun main parts in the "Kiddie Table" sketch (with Jane Curtin, Laraine Newman, Paul Shaffer, and Bea Arthur) and the "Drop Out" sketch (with Curtin, Tom Davis, and Harry Shearer), and Radner gets the aforementioned "Woman to Woman".
Paul Shaffer makes an impressive debut as a featured player, accompanying Bea Arthur on piano during her monologue (she sings a song, because she's Bea Arthur and when you get Bea Arthur you let her sing), playing one half of the team of librettists in the "Backer's Audition" sketch (with Harry Shearer being the other half), and playing in the aforementioned "Kiddie Table" sketch with Curtin, Murray, and Newman.
Speaking of Harry Shearer, he gets some impressive showcases-playing Ronald Reagan's campaign aide in the cold open, doing a fast-talking pitchman sketch, and of course some solid support performances in the aforementioned "First, He Cries" and "Drop Out". Based on this episode alone, it's very obvious why he got that mid-season promotion to repertory status.
The musical guests, The Roches, wow the audiences with their impressive harmonies and clever songwriting.
Overall, a very good episode, if not necessarily an instant classic.
The episode is mostly carried by the cast-Bill Murray and Gilda Radner, in particular. Murray and Radner lead "First, He Cries" together and are both featured prominently in "Backer's Audition". Murray gets some fun main parts in the "Kiddie Table" sketch (with Jane Curtin, Laraine Newman, Paul Shaffer, and Bea Arthur) and the "Drop Out" sketch (with Curtin, Tom Davis, and Harry Shearer), and Radner gets the aforementioned "Woman to Woman".
Paul Shaffer makes an impressive debut as a featured player, accompanying Bea Arthur on piano during her monologue (she sings a song, because she's Bea Arthur and when you get Bea Arthur you let her sing), playing one half of the team of librettists in the "Backer's Audition" sketch (with Harry Shearer being the other half), and playing in the aforementioned "Kiddie Table" sketch with Curtin, Murray, and Newman.
Speaking of Harry Shearer, he gets some impressive showcases-playing Ronald Reagan's campaign aide in the cold open, doing a fast-talking pitchman sketch, and of course some solid support performances in the aforementioned "First, He Cries" and "Drop Out". Based on this episode alone, it's very obvious why he got that mid-season promotion to repertory status.
The musical guests, The Roches, wow the audiences with their impressive harmonies and clever songwriting.
Overall, a very good episode, if not necessarily an instant classic.
