American Classic Season 1 Episode 4 Review: Real People Who Are Real People

Critic’s Rating: 4 / 5.0

4

The more I see of American Classic, the more I appreciate the script’s craftsmanship.

The overarching themes of pursuing dreams and making hard choices are never as apparent as on American Classic Season 1 Episode 4, “Big Spender.”

Although Richard has tended toward impulsive and grandiose actions, his secret deal with Boyle feels calculated, if risky.

Unlike Kristen, who has dug herself in deep with the leprechaun leviathan, Richard still has some leverage.

This was unquestionably Kristen’s breakout chapter.

The casino night she pitches in a desperate attempt to appease Boyle showcases her reluctant return to the stage spotlight, where she belts out Coleman and Fields’ perennial classic “Big Spender.”

American Classic, “Big Spender”

As in every American Classic offering, choices are deliberate and precise. The song “Big Spender” is a tease. In the musical Sweet Charity, the dance hall hostesses sing it to entice customers.

Here, Richard chooses it for Kristen to sing, knowing she needs to sell the townspeople on Boyle’s idea of building a casino, while, at the same time, keeping Boyle on the hook for his investment in the town.

Of course, Laura Linney absolutely nails it, slipping from her mayoral stoicism to sparkling songstress in a few short bars of music.

Still, she throws in some vicious side-eye at Richard even as she has every attendee riveted by her performance.

My favorite moment is seeing her cozy up to Mark Linn-Baker (a town councilman and Cousin Larry himself from Perfect Strangers) and completely blowing his mind.

Watching Richard’s facial expressions at the piano during Kristen’s number is interesting. Clearly, emceeing the event isn’t taking up much bandwidth, and his brain is still casting Our Town in the background.

Could he have Kristen in mind for a role? With Miranda a shoo-in for Emily, it would be logical for Kristen to play Mrs. Webb.

And that would open the door for Jon to step up as Charles Webb, completing the family unit in an art-imitating-life triptych.

The Casting Conundrum

When Richard strikes on the idea of casting the townspeople of Millersburg as versions of themselves in Our Town, it both simplifies and complicates his job.

“Method casting,” I’m calling it, and it’s not a new idea. The 1999 Chinese film Not One Less did the same, blurring the lines between drama and reality.

Sure, casting Millersburg’s funeral director, Kenny Klaus, as the play’s undertaker and the obstetrician as Our Town’s doctor are easy gets. Richard’s plan could easily fill the smaller roles.

(I have some concerns with the ethics of faking a heart attack as part of the audition process, but okay, whatever works, I guess.)

However, having his father take on the line-heavy role of The Narrator may be genius, as Linus does live outside the story in a way because of his dementia.

But it could set up a catastrophe (because of the dementia) … unless Richard plans to be his understudy. #hmm

Unfortunately, with Nadia gunning for the role of Mrs. Gibbs, the line between creative vision and financial reality gets more than blurred. It’s rubbed out altogether.

A(nother) New Deal

For a man with a rather jolly countenance and a cheery accent, Billy Carter as Connor Boyle does manage to convey an effectively threatening presence.

When he appears in Richard’s room, he speaks softly but plans to wield a big stick because the man is scared. Nadia getting the part is a non-negotiable.

“But Kristen isn’t Russian. The Russians have a very profound understanding of misery and how to inflict it on other people.” — Boyle

And Richard’s not stupid. He sees this as his only chance to secure full funding for the show and takes it.

One has to wonder what that handshake will cost him in the long run.

Bean There, Done That

The older Beans all have established lives with clear parameters laid out and weighty expectations for themselves.

Richard needs to be a star and a savior. Kristen has taken on the responsibility for the Bean family legacy and the town where it stands.

Jon, at this point, contents himself with showing his love through acts of service — cooking, singing harmony, and general cheerleading.

Mind you, I had to give Jon a thoughtful moment when Richard made him the wren to his soaring eagle on their mother’s urn. I suspect he’s due for his breakout moment.

Miranda’s motivation is murkier. She stands at multiple significant crossroads and holds her cards close, trying to gauge the value of her heart’s desire versus a secure future.

The smart choice would be Penn State and a “reliable” career path. Her heart is for the stage and Broadway, where her uncle’s life beacons like a flamingly enticing cautionary tale.

Y’know, until I saw the protest signs behind Miranda during the anti-casino protest, I hadn’t even considered where Boyle’s money was coming from.

His being an organized-crime boss (or, more likely, a cog) puts a whole new spin on his concerns about maintaining Nadia’s happiness.

Have Seats, Need Show

With some major pieces in place at the halfway mark of the season, I’m hoping that American Classic will dive into the rehearsal process next.

With Richard in the director’s chair and potentially his entire family on stage, the chances of an actual heart attack increase exponentially.

How will Nadia’s presence be mediated? Can her acting be weaponized in some way?

Having a Russian and an Irish mobster at the center of an “American classic” really speaks to the new world order.

And that’s one theater reference I haven’t mentioned yet.

I love that in a family of Beans — Richards, Linuses, and Jons — Kristen named her daughter Miranda, a symbol of a hopeful future.

“O wonder!
How many goodly creatures are there here!
How beauteous mankind is! O brave new world
That has such people in’t!” — Miranda, Shakespeare’s The Tempest, V.I.

What has been your favorite callback on American Classic, Fanatics?

Who’s really knocking it out of the small-town ballpark? Hit our comments with your series VIPs so far!

New episodes of American Classic drop Sundays on MGM+.

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