The driving excitement of the familiar chords play, our eyes fixate on an electric sign blazing the word SMASH that ballyhoos over the Hollywood sign, magically transforming into one for Grauman’s Chinese Theater as reporters and fans await the glamorous entrance of the star of Bombshell: The Marilyn Monroe Story, the musical within the musical of the new, Broadway hit musical, SMASH, with a score by Marc Shaiman and Scott Wittman (Some Like It Hot, Hairspray), book by Bob Martin (The Prom, The Drowsy Chaperone) and Rick Elice (Jersey Boys, Peter and the Starcatcher), direction by Susan Stroman (The Producers), and choreography by Joshua Bergasse (On The Town) that opened April 10th at the Imperial Theatre (249 West 45th Street) offering an antidote to our current climate for a night of glitz, levity and non-stop laughter.
For those who might not know, SMASH, the Broadway musical, is inspired by the NBC series of the same name created by playwright Theresa Rebeck that aired for two seasons 2012-2013. Also noteworthy is that Steven Spielberg is a producer for both the TV and Broadway SMASH. The TV show was about the artistic process of putting together a Broadway musical, alongside the behind-the-scenes drama of the character’s lives. At the end of season one, Theresa Rebeck was removed as showrunner for her own show which, ultimately, did not survive. Canceled a season later, it was said its direction had become like soap-opera. So, what do you do when you have to turn that into a real Broadway musical a decade later?
“Make ‘em laugh! Make ‘em laugh! Don’t you know everyone wants to laugh?”
REPORTER TWO: Marilyn, is it true you wear nothing in bed?
IVY AS MARILYN: Of course not. I wear Chanel No. 5.
Ba dum bum. The audience roared and I was all in. Thrilled to be in my great seat, in the beautiful theater, in excellent hands, and ready for fun. The smile affixed to my face remained the entire two and half hours.
Rick Elice and Bob Martin‘s book is hysterical. Reborn with a whole new plot, the story was inspired by the characters of the TV SMASH. We do learn about their personal lives, but instead of soap-opera it lives in a world of hilarious backstage hijinks. The lead roles cover all the bases: 1 composer, 1 lyricist, 1 producer, 1 intern, 1 chorus boy, 1 director, 1 star, 1 understudy, 1 hopeful and… 1 acting coach?! Need I say more? Well, I won’t because in addition to the comedy are some plot twists and turns that I don’t want to spoil. Yes, it’s ‘meta,’ and I found it delicious. I adored Beowulf Boritt‘s old-fashioned theater sets that were reminiscent of traditional musicals, and the GenZs who did not know a thing about them. The show smartly integrates the painstaking time it takes to produce a Broadway musical, juxtaposed with the instantaneous change that occurs when something goes viral. Worlds gleefully collide and combust into a kaleidoscope of great scenes and themes. I will share but a few:
- “Let Me Be Your Star” is Marilyn’s big song, and we hear three actresses sing it as they fall into a zany competition for the role. You find yourself rooting for each one, making for a great feel-good feeling.
- I love the construct of the musical, as the characters in SMASH do not (but for one incredible exception) burst out into song, but sing the wonderful Marc Shaiman/Scott Wittman music only as they are involved in the writing, rehearsals and performances of Bombshell. When the composer gives his side-splitting speech about how no one wants to hear people talking in a musical, it is wonderful self-parody.
- We, the audience, get to be a part of the Bombshell sitzprobe, theater-speak for the first run-through with a full orchestra. And, yes, of course something ‘big’ happens!
- Swedish influencer KewpieDoll tracks the show from his YouTube podcast to much hilarity, also giving a perspective of the times and generational relationships to media, to theater and, in the end to a surprising 11 o’clock number about the passion for theater as a unifier. Creativity bonds.
Brooks Ashmanskas, steals the show as the director, Nigel, with his uniquely funny physical comedy and pathos. Robyn Hurder is breathy and statuesque and wins our hearts as both Ivy and Marilyn. Kristine Nielsen is one guffaw after another as Ivy’s acting coach who reeks of the Ghost of The Actors Studio Past. Krysta Rodriguez and John Behlmann are spicy as the husband and wife writing team, especially when Behlmann’s alcoholic hysteria kicks in. Nicholas Matos is lovable as the clueless intern who sees the light. And Ken Billington’s lighting design brings bright magic to the stage, illuminating Alejo Vietti‘s eye-candy costumes and the inventive choreography of Joshua Bergasse.
Five-time Tony Award winning director and choreographer Susan Stroman is masterful as only she can be; the visual, audio and colorful joy a gift that keep giving. Stro turns the curtain call into an Opening Night when each character takes their bow in a dazzling costume that looks like something one might wear to the Tonys. And I do expect many nominations. To that, while I did not single everyone out, I could have because every person’s work is special.
The Broadway cast of SMASH includes Robyn Hurder (Moulin Rouge) as “Ivy Lynn,” Brooks Ashmanskas (The Prom) as “Nigel,” Krysta Rodriguez (Spring Awakening, “Smash” TV Series) as “Tracy,” John Behlmann (Shucked) as “Jerry,” Kristine Nielsen (Vanya and Sonia and Masha and Spike) as “Susan Proctor,” Caroline Bowman (Frozen Tour) as “Karen,”Jacqueline B. Arnold (Moulin Rouge) as “Anita,” Bella Coppola (Six) as “Chloe,” Casey Garvin (Some Like It Hot) as “Charlie” and Nicholas Matos (Broadway Debut) as “Scott.”
The company includes Wendi Bergamini, Sarah Bowden, Jacob Burns, Deanna Cudjoe, Chelle Denton, Daniel Gaymon, Merritt David Janes, Ndaya Dream Hoskins, Megan Kane, David Paul Kidder, Ian Liberto, Libby Lloyd, McGee Maddox, Connor McRory, J Savage, Jake Trammel and Katie Webber.
SMASH features scenic design by Beowulf Boritt (New York, New York), costume design by Alejo Vietti (Titanique), lighting design by Ken Billington (Chicago), sound design by Brian Ronan (Beautiful: The Carole King Musical), projection design by S Katy Tucker, orchestrations by Doug Besterman (The Producers), dance and incidental music arrangements by Sam Davis (New York, New York), and music supervision by Stephen Oremus (Wicked, Frozen).
Don’t miss this. It’s tough out there. Take a break, see SMASH and have yourself some great theatrical fun. At the Imperial Theater, Manhattan; smashbroadway.com. Running time: 2 hours 30 minutes.
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