Leverage: Season 3, Episode 4

The Scheherazade Job (27 Jun. 2010)

TV Episode  |  TV-PG  |   |  Action, Crime, Mystery
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To rob an African kleptocrat's Boston vault, the LEVERAGE team has to time their heist to a symphony concert nearby, where amateur violinist Hardison must play a solo for a sell-out crowd.



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Episode cast overview:
Alexander Moto
The Italian
Jane Akinyemi
Marcel Davis ...
Simeon Moto
Ryan Tresser ...
Secret Service Agent Kelly
Michael Winther ...
Karl Bartholdt
Businessman #1
Goon #1


To rob an African kleptocrat's Boston vault, the LEVERAGE team has to time their heist to a symphony concert nearby, where amateur violinist Hardison must play a solo for a sell-out crowd. Written by TNT Publicity

Plot Summary | Plot Synopsis


Action | Crime | Mystery



Release Date:

27 June 2010 (USA)  »

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Technical Specs

Aspect Ratio:

1.78 : 1
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Did You Know?


Aldis Hodge does actually play the violin, though not at a professional level as required for the piece in this job. While he didn't play the piece live for filming, he did learn it, and worked with his violin teacher to perfect the timing and fingering to make it accurate for the show. See more »

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User Reviews

Interesting but seriously flawed episode
23 May 2015 | by (Buffalo, NY) – See all my reviews

I love Leverage the series, and have now watched all 5 seasons in quick succession many times. Their plots are usually solid and the cons are persuasive and tricky. Which is why this episode is so disappointing in many ways. They simply didn't do their musical homework:

1. Sheherazade is not "the most difficult violin solo ever", but an orchestral piece with some extensive solos for the concertmaster (first violinist in the orchestra). And these concertmaster solos are certainly not the hardest in the standard literature--nothing like as hard as, say, the solos in Ein Heldenleben by Richard Strauss.

2. It is not the case that the piece leads up to a super-solo at the end. Concertmaster solos are spread throughout the piece, at least one in each of its four movements. The one that is in many ways the hardest is right at the beginning of the first.

3. The idea that Nate could accurately project the timing of a piece as Romantic and fluid as this is silly. That the conductor would suddenly adopt a new unanticipated tempo that would take a minute off the remaining timing is absurd; tempos don't fluctuate THAT much. And the place where the tempo change is announced isn't one! (It's actually an edit between two passages with pretty much the same tempo!)

4. It's an attractive notion that Hardison's teenager skills on the violin could be recalled by hypnotism, and perhaps his confidence could be boosted this way. But the limberness of the fingers and the precision of the bow arm--these would take months, if not years, of exercise and practice to regain, to be able to play at the level that he is supposed to be operating at.

Aldis Hodge does a decent job of faking; he obviously does play the violin, and isn't just waving his hands around near an instrument, finger-syncing to a sound-track. That's not the problem. I just wish the writers could have come up with a plot that didn't embarrass all the professional musicians in the audience...

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