Product Details

• Actors: Paul Gross, Mark McKinney
• Format: Closed-captioned, Color, DVD, Widescreen, NTSC
• Language: English (Dolby Digital 2.0 Stereo), English (Dolby Digital 5.1)
• Aspect Ratio: 1.66:1
• Number of discs: 2
• Rating: NR (Not Rated)
• Studio: Acorn Media
• DVD Release Date: July 3, 2007
• Run Time: 285 minutes
• Average Customer Review: 5.0 out of 5 stars See all reviews (33 customer reviews)
• ASIN: B000P2A2X8
• Amazon.com Sales Rank: #30,476 in Movies & TV (See Bestsellers in Movies & TV)

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• For more information about "Slings & Arrows - Season 3" visit the Internet Movie Database (IMDb)

Editorial Reviews

Amazon.com
It's a shame that there aren't more shows this good on TV, and now it's gone. Well, Slings and Arrows always was conceived by its creators to be a set of three seasons, and so after two tremendous offerings it comes to its third and final set of episodes about the backstage drama, onstage embarrassments, and personal trials and tribulations of the staff and actors of the fictional New Burbage Theatre Festival. Following the show's conceit of using plotlines that parallel the Shakespeare play being performed--Hamlet in season one and Macbeth in season two—this season sees artistic director Geoffrey Tenant (Paul Gross) mounting an ambitious production of King Lear with a lead actor (William Hutt as the aptly named Charles Kingman) who begins to literally live the role. Meanwhile the festival's general manager, Richard (Mark McKinney), deals with the unexpected burdens brought by the critical and financial success of their last production, continuing the show's structure of dual plotlines that focus on the artistic and financial aspects of theatre, detailing how inextricably the two are linked. Richard joins forces with flamboyant director Darren Nichols (Don McKellar) tries to top it with East Hastings, a contemporary musical about a heroin-addicted hooker with a heart of gold. As the musical becomes a big hit, Lear turns into a train wreck, and Geoffrey and Richard are both forced to make big decisions that have huge consequences for the Festival staff and actors. Such is the nature of outrageous fortune. It's bittersweet to see a show this well done come to an end. On the one hand, three seasons seems like such a short run for such a good program. On the other hand, it's good to see it go out on a high note, and the addition of extra features on this set, including extended interviews, deleted scenes, production notes, and more, should help serious fans through their withdrawal. --Daniel Vancini

Product Description
"Pitch-perfect drama and comedy" -- San Francisco Chronicle
"Sweet, smart and seriously addictive" -- Philadelphia Inquirer
"The most fully satisfying slice of entertainment in ages" -- Newsday

As seen on the Sundance Channel

In its third season, this universally acclaimed series continues to mine dramatic and comic gold from the trials and tribulations of a dysfunctional Canadian theatre troupe, both on- and offstage.

Struggling with the unfamiliar burdens of success, the New Burbage theatre festival mounts two ambitious productions: King Lear, Shakespeare’s epic tragedy, and East Hastings, a debut musical about a heroin-addicted hooker with a heart of gold. Emotionally fragile artistic director Geoffrey Tennant (Paul Gross) coaxes legendary actor Charles Kingman out of semi-retirement to play Lear. But with plenty of personal baggage, Kingman doesn’t so much play the part as live it. Meanwhile, the festival’s resident bean-counter (Mark McKinney) joins forces with the musical’s flamboyant director (Don McKellar) to create the unlikeliest hit in theatre history. Special guest stars include award-winning actor William Hutt of Canada’s Stratford Festival and indie-film sensation Sarah Polley (My Life Without Me, The Sweet Hereafter).

DVD SPECIAL FEATURES INCLUDE interviews with Paul Gross and Susan Coyne; extended scenes of King Lear; bloopers; deleted and extra scenes; trailer; production notes; photo gallery, song lyrics, and cast filmographies.

Contains strong coarse language

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Customer Reviews

Most Helpful Customer Reviews

63 of 64 people found the following review helpful:

5.0 out of 5 stars A beautiful end to a completely wonderful little series, April 25, 2007

By	Robert Moore (Chicago, IL USA) - See all my reviews (TOP 50 REVIEWER)    (REAL NAME)

Warning: Spoilers!

Season Three was the final act in one of the remarkable small format series in the history of television. The Canadian series is unlike anything that could ever have been produced in the United States. American TV is focused on long-running series that can be taken into syndication. This doesn't mean that some great television doesn't result, but it does mean that smaller series such as SLINGS AND ARROWS, with its three six-episode seasons, has no place. This is a tragedy on a number of levels, not least because some series are simply better served by shorter formats.

Season Three of the series was far and away the most controversial of the three. Many fans of the first two seasons found the collapse of all the successes of the first two seasons to be off putting. They liked the way that HAMLET in Season One was an unexpected success while the daring MACBETH of Season Two became not only a festival success but made its way to Broadway. The final season was, however, a far more subdued and somber affair. Like the first two seasons, it focused on a central play in the Shakespearean corpus: KING LEAR. And like the first two seasons there is a difficulty with the lead actor. In this case, however, the actor is dying.

I personally think the final season is a tremendous artistic success. And much of the reason for that is the amazing performance by William Hutt as Charles Kingman, the dying Lear. Hutt has, very much like Ellen in the series, spent very little time in television and film. He is in fact one of the most distinguished Shakespearean actors of his day. Some great stage actors' transition to the silver screen as they age, finding the less grueling film schedule's physical demands easier to meet. But Hutt continued onstage well into his eighties. This season of the show would not have worked with a lesser actor. There are moments in the season when Hutt's Kingman is performing LEAR that you simply stop breathing his performance is so extraordinary. You become acutely aware that you are seeing someone do something that the vast majority of actors, even the majority of very good actors, simply cannot do. Though in his mid-eighties one is struck by the sheer power in his voice. Getting Hutt to play this role pretty much guaranteed the success of the season.

Another delight in Season Three was seeing Sarah Polley appear in a production with her father. She plays the play's Cordelia, while her father was in all three seasons as Frank, the hard-of-hearing half of the elderly male couple. I've always respected Polley for her political activism and her rejection of Hollywood stardom (among other moves, she turned down the role in ALMOST FAMOUS that later made a star of Kate Hudson). So it was a rare treat to see her in this.

As mentioned, many fans of the show didn't care for this season. Many wanted in outline a repetition of the first two seasons, where success is snatched out of the jaws of failure. Things this season simply do not go very well. This is not to say that the series ends unhappily, but it does end by rejecting conformity to a formula. I've little patience for television viewers who have no tolerance for risk or change. The best television is never safe television. The best shows I've seen on television, whether THE SOPRANOS or BUFFY THE VAMPIRE SLAYER or SIX FEET UNDER or BATTLESTAR GALACTICA or THE WIRE are essentially risk-taking shows. In each of these shows not all the fans were willing to follow where the writers were taking them. These fans wanted the shows to stay safe. But the best shows always a bit of the sense of a tightrope walker working without a net. SLINGS AND ARROWS did precisely this in Season Three. And I just say: good for them!

And what can you say about Paul Gross. Before this series I mainly knew him for his role as a Mountie who had been reassigned to Chicago in the series DUE SOUTH. His Geoffrey Tennant is one of the finest characters I've seen on television in several seasons. Though the series has ended, it is, I believe, technically qualified for Emmy nominations this next round. If there were justice Gross would receive an nomination for Best Actor. He won't. The Emmys ignore shows on all but the Big Four and HBO, which means that shows like this one and BATTLESTAR GALACTICA will be ignored, and inexplicably even the HBO drama THE WIRE. (The three shows I've seen television critics consistently praise more than any others are THE WIRE, BATTLESTAR, and FRIDAY NIGHT LIGHTS, but I don't expect all three--except for the special effects, which BATTLESTAR will sweep--to get any nominations, those the three shows should dominate the Best Drama, acting, and writing categories.) And having only six episodes hurts further. But Gross's Tennant is eccentric, brilliant, human, funny, and magnificently flawed. Yet Gross manages to endow him with greatness as well.

The series ended after only eighteen episodes. Not even quite a full season of a broadcast network series in the United States. But there was no filler, so it felt like it had more content than most regular series. And it ended like any good show is supposed to: it left us wanting more. With eighteen episodes it has no hope for syndication. But as long as the DVDs stay in print I believe that this show will have a continually expanding audience as one person watches it and then tells his friends about it. And it will be a steady rental on Netflix even if Blockbuster fails to stock it on its shelves (yeah, I know Blockbuster has a rental service as well, but after all the gouging they did with all those late fees, why should I ever give Blockbuster another penny?)

This is a truly great series. I am a life long movie buff who firmly believes that in the past decades television has surpassed the movies as the thinking person's visual medium of choice. And this is one of the series that I would point at to prove my point.

6 of 6 people found the following review helpful:

5.0 out of 5 stars A hit - a palpable hit, June 27, 2007

By	Z. Freeman "Zach" (Austin, TX) - See all my reviews (REAL NAME)

Slings and Arrows, a title taken from the infamous Hamlet speech - but I didn't have to tell you that did I? - returns to the screen (and now to DVD) with a third season. Like the theatre world that the show is based around, Slings and Arrows intertwines equal parts comedy and tragedy to create a moving and funny third season.

Unlike the majority of episodic television shows, Slings and Arrows focuses on the whole picture rather than making sure each episode has a gimmick to focus itself around. Luckily, this doesn't have the effect of making the show feel soap operatic or boring; instead, it allows the audience to become familiar with each character in the show and to enjoy the arc of the story as if they were watching a six segments of a super-long film.

This is the first season that I have seen, and I had no difficulty picking up the story line and relating to each character and their specific struggles and relationships. I can't speak to the relationship between seasons, though, since I haven't seen them myself, but it seems that the first two were more comedic and uplifting, while this final season, based around a production of King Lear, is a bit more solemn, dealing with a leading actor who is dying of cancer. The lead actor is played by the respected Canadian Shakespearean actor William Hutt, although "played" is not the best word for such a performance. Watching Hutt in this heartbreakingly powerful portrayal is the epitome of witnessing a master craftsman at work.

Series regulars Mark McKinney (of Kids in the Hall fame) as uptight number-cruncher Richard Smith-Jones and Paul Gross as artistic director Geoffrey Tennant each face new challenges and life-altering experiences in this third season. As Tennant deals with uncontrollable weeping, sexual insecurity, a failing production of Lear, and the ghost of a past mentor, Smith-Jones learns what it means to be a carefree artistic director.

The rest of the supporting cast is equally enjoyable. The season slowly unfolds a blossoming relationship between a "serious" actor and a "musical theatre" actress, as the former realizes the skills of the latter. The relationship between Tennant and his girlfriend is tested as her best friend, also an actor in the Lear show, moves in with them - prompting him to move out.

The box set consists of two DVDs, each with three episodes and a few special features. An interview with Paul Gross on the first DVD is the most informative, as he discusses his opinions on the show, Shakespeare, and presenting Shakespeare in a contemporary context.

Overall, the show is entertaining and doesn't insult the audience's intelligence as much television seems wont to do these days. The slow pace may be a bit of a drawback for some American viewers, but for fans of strong acting, Shakespeare, and well-planned series, Slings and Arrows Season 3 is sure to be a hit - a palpable hit.

3 of 3 people found the following review helpful:

5.0 out of 5 stars Is Geoffery Tennant a man More sinn'd against than sinning?, November 16, 2007

By	Lawrance M. Bernabo (The Zenith City, Duluth, Minnesota) - See all my reviews (TOP 10 REVIEWER)    (COMMUNITY FORUM 04)

When life takes its toll
When fate treats you bad
You used to be king
And now you've been had
Alone with you're fool
You think you'll go made
It's nice to take a walk in the rain

A stomp through a storm
Is what I'd advise
When people you trust
Tell nothing but lies
And kidnap your friend
And gouge out his eyes
It's nice to take a walk in the rain

In Season 1 of "Slings & Arrows," when the reasonably insane Geoffrey Tennant (Paul Gross) returned to the New Burbage Theater as artistic director it was to put on a production of "Hamlet" that features a young American heartthrob as the melancholy Dane and the then unknown Rachel McAdams as the production's Ophelia. Season 2 saw Geoffrey forced to put on a production of "MacBeth" as a tribute to the late Oliver Welles (Stephen Ouimette), an honor made painfully ironic by the fact that the spirit of Geoffrey's predecessor and former mentor is still around bedeviling our hero. The second season was not quite on the level of the first, and so I was concerned that the third and final season would not be a charm, but continue the decline. However, by the time I watched the six episodes in which the New Burbage Theater puts on a new production of "King Lear," I had to try and decide if this last season was the best of all for this Canadian production that is a must see for anybody who has been involved in the theater, even if they have never been in a production of one of the Bard's works.

Not only is the New Burbage Theater putting on "Lear," but also a new musical, "East Hastings," a low-"Rent" junkie-musical, which directed by Darren Nichols (Don McKellar), a nagging presence who Geoffrey has had no more success ditching than he has with the ghostly Oliver. Richard Smith-Jones (Mark McKinney) also has a hand in the musical's success, and while the good news is that he appears to be blossoming as a human being the bad news is also that he is blossoming as a human being. Ellen (Martha Burns) is still around, but she and Geoffrey are involved in a perpetual tradeoff between forward and backwards steps. The key new players in the mix are Charles Kingsman (William Hutt), the aged actor who comes out of retirement to do Lear, and Sophie (Sarah Polley), the young actress who will be playing Cordelia. Charles commands pretty much every scene that he is in, usually by degrading his fellow actors for their inadequacy in understanding and reciting the text, but also by declaiming Lear's lines enough to make us eager to see him actually do the play (and one of the great joys with this DVD set is that there are scenes that are just the performance of "King Lear," and not of the play within the play that is always at the heart of this series). However, the main problem turns out to be neither Charles' temper nor his temperament, but something more serious.

The most brilliant part of this third season of "Slings & Arrows" is how they milk the opening night of "Lear" (a cryptic comment that will make better sense after you watch these six episodes). After all, it is the performance that is the thing, and not the play. Whether it is "Hamlet," MacBeth," or "King Lear," it is how this cast responds to the challenge, and how comedy and pathos can be traded off at a moment's notice. Meanwhile, Geoffrey has to work out his complicated relationships with Oliver and Ellen and come to some final resolution (but we will believe both when and only when we see it). Of course, you will be sad to see it all end, and then the question is how long you will wait before you go back and enjoy the first season again. Fortunately, while the plays being performed might have been tragedies, "Slings & Arrows" really is a comedy at heart, which is why it ends, as all of Shakespeare's comedies do, with a wedding and a song (but what follows is not the song in question, but the other half of the song that opens up each episode of Season 3).

You say your daughters
Are evil plotters
A pitter patter shower will keep you sane

When all has been said
And all have been slain
It's good to take a walk in the rain
For several hours
Helps to have a howl in the rain
Without your clothes on
Nice to take a walk in the rain