Exciting News for Smash Fans

Don’t worry, Smash enthusiasts — scarves are present, alongside a rather bothersome personal assistant. A key character does indeed face poisoning, and numerous Marilyn Monroes perform the show’s iconic anthem, “Let Me Be Your Star.”

A Theatrical Delight

Smash, the Broadway musical inspired by NBC’s briefly-running series, is filled with Easter eggs for those who adored (or watched out of fascination) all 32 episodes of the famously outrageous show. However, the stage adaptation — penned by Bob Martin and Rick Elice, and featuring music by Marc Shaiman and Scott Wittman — transcends mere homage. With its debut on stage, Smash fully realizes its potential as a witty and sharp satire that both critiques and celebrates Broadway.

Opening Night Buzz

Although Smash can be enjoyed by those unfamiliar with the TV show, the preview audience at New York’s Imperial Theater was brimming with fans of the NBC program. A wave of cheers erupted as the curtain lifted, revealing the glimmering title of Bombshell: The Marilyn Monroe Story displayed prominently. The musical kicks off with a lively production number starring Ivy Lynn (Robyn Hurder, stepping in for Megan Hilty) as she captures the essence of Marilyn in her recognizable white dress, singing the beloved lines: “Fade in on a girl/ With a hunger for fame…”

Behind the Scenes Drama

After Ivy’s stunning performance of “Let Me Be Your Star,” the scene shifts to a rehearsal studio. Here, Ivy and the creative team of Bombshell — comprising director/choreographer Nigel (Brooks Ashmanskas), associate director Chloe (Bella Coppola), lyricist Tracy (Krysta Rodriguez), and composer Jerry (John Behlmann) — hurriedly finalize their opening act. Despite their first previews being just weeks away, the team remains determined to make continuous improvements.

The Balancing Act

Nigel and his driven lead producer, Anita Kuperman (Jacqueline B. Arnold), strive to steer Bombshell clear of “the emotional Marilyn Monroe biography trope,” while Tracy expresses concern over the show’s upbeat tone. “Is ‘feel-good’ appropriate for Marilyn Monroe?” she questions. When Ivy is introduced to acting coach Susan Proctor (Kristine Nielsen), a loosely veiled portrayal of Monroe’s real-life Method mentor Paula Strasberg, it triggers a sequence of events that could jeopardize Bombshell‘s journey to opening night.

Tension and Humor

The first act of Smash is heavily infused with musical numbers, showcasing Ivy and her understudy, Karen (Caroline Bowman, now stepping into Katharine McPhee’s TV role), performing recognizable tunes from the series such as “National Pastime,” “Second Hand White Baby Grand,” and “The 20th Century Fox Mambo.” Unlike in the NBC version, Ivy is already an established star, with Karen as her supportive friend and understudy. Although the question of casting does eventually arise, it does not dominate the narrative.

Bringing Broadway to Life

Despite the absence of conflict, Smash feels more like a revue until nearly the end of the first act when Ivy fully embodies the famously challenging Marilyn. From this moment, Smash lives up to its tagline: “a comedy about a musical.” As Nigel and the frantic Bombshell team battle to contain backstage drama from external viewers, including a Swedish YouTuber named Kewpiedoll (Jeff Hiller), the humor escalates. Ashmanskas delivers a remarkably humorous performance as Nigel, while Rodriguez adds a touch of dry humor to her role as Tracy.

Final Impressions

Bowman’s strong vocals and charm enhance Karen’s somewhat underdeveloped character, while Hurder’s impressive vocals turn Ivy into a phenomenal presence on stage. The innovative stage design by Beowolf Boritt and S. Katy Tucker combines practical sets with large projections, facilitating smooth transitions between the grand numbers of Bombshell and rehearsal scenes. Although the second act feels slightly rushed and scattered, it does not detract from the show’s vibrant energy. Smash celebrates the immense talent required to bring a successful musical to life, making it evident that this production truly belongs on Broadway. Grade: A-