SMASH, a stage version of the 2012-13 NBC TV series Smash, which ran only two seasons before being cancelled, has come to Broadway’s Imperial Theatre in a meta-comedy musical-within-a-musical take-off on the original that follows the problematic creation and crash of the new Broadway production Bombshell, about mid-century sex symbol Marilyn Monroe – a smash before the Women’s Liberation Movement of the 1970s, some half-century ago, who used nude posing and the casting couch to advance her career, was notoriously difficult and demanding, and died of a barbiturate overdose in 1962, at the age of 36. With a book by Bob Martin and Rick Elice, a score by Marc Shaiman and Scott Wittman, and choreography by Joshua Bergasse (who won an Emmy for the series), the work parodies the backstage chaos, competition, and conflicts within the company and production team, with reworked characters (most that differ from the small-screen originals), 22 musical numbers, including many known to the TV show’s viewers (both fans and mockers), and over-the-top self-deprecating humor about the theater industry.
Directed by Susan Stroman, a large all-in featured cast and ensemble deliver the exaggerated personalities, overload of sub-plots, running gags, and belt-fest of songs (that don’t really advance the story, but are just rehearsed in the studio or performed on stage for Bombshell) with all-out commitment. The main storyline follows the havoc wreaked by star Ivy Lynn (played by triple threat Robyn Hurder), who, after signing her contract, discovers Method Acting (as the real-life Monroe did), fully embraces the character of Marilyn both on stage and off – under the impetus of her creepy omnipresent pill-pushing coach Susan (an unrecognizable Kristine Nielsen) – and antagonizes everyone else associated with the show.
Ivy’s divisiveness and demands (she won’t answer to Ivy, only Marilyn), late arrivals and delays, forgotten lines and overall outrageous behavior precipitate her longtime understudy Karen (Caroline Bowman) and associate director/choreographer Chloe (Bella Coppola) filling in for her and stealing the spotlight (Coppola’s powerhouse performance of “Let Me Be Your Star” is the vocal highlight of the show), engender a behind-the-scenes plan by director Nigel (the riotous Brooks Ashmanskas), who is losing control and repeatedly asks to shoot me, fire me, put me out of my misery, producer Anita (Jacqueline B. Arnold), concerned about her financial investment and those of the other backers, and married writers Tracy and Jerry (Krysta Rodriguez, who appeared in a different role in the NBC series, and John Behlmann), who keep making changes to the music, using the melodies of unknown songs from their past failed shows, and trying to add some truth and depth to what was intended by Nigel to be a feel-good musical, which wouldn’t include the sad background and death of Monroe. Uh huh.
Among the other overstuffed plot points are the marital discord between Tracy and Jerry, who is in therapy and turns to excessive drinking; Chloe’s recognition that she, though supremely talented, doesn’t fit the ideal female type for Broadway; Anita’s Gen Z nepo-baby assistant Scott (the excellent Nicholas Matos), who has no knowledge of Broadway musicals but is an expert on influencers and social media, and posts Jerry’s drunken rage about the still officially unannounced intent to replace Ivy, which digitally explodes (in S. Katy Tucker’s video and projection design) with reactions to the trending post that are indicative of the current generation; Nigel’s sexual attraction to Terry (Jake Trammel), one of the young men in the chorus, which is prohibited by the producer; and a badly failed plan executed by Karen’s husband Charlie (Casey Garvin), a member of the ensemble, designed to rid the show of Ivy.
All of the segments are interspersed with Marilyn’s song-and-dance numbers, as forcefully performed by Hurder, Bowman, and Coppola – a far cry from the real-life Monroe’s little, cooing, sexually suggestive voice (orchestrations by Doug Besterman; vocal arrangements by Stephen Oremus and Shaiman), though the story is loaded with her familiar quotes, poses, and stylings (costumes by Alejo Vietti, hair and wigs by Charles G. LaPointe, and make-up by Joe Dulude II). Oh, and stage manager Holly (Megan Kane) is tasked with keeping it all together and not becoming completely exasperated. That’s a lot.
But there’s more. Rounding out the full company are Wendi Bergamini, Sarah Bowden, Jacob Burns, Deanna Cudjoe, Chelle Denton, Daniel Gaymon, Merritt David Janes, Ndaya Dream Hoskins, David Paul Kidder, Ian Liberto, Libby Lloyd, McGee Maddox, Connor McRory, J Savage, and Katie Webber, contributing to the excess of the show and its constant shifting of scenes (set by Beowulf Boritt; marquee, electric, and spot lighting by Ken Billington; and sound by Brian Ronan), from the rehearsal studios to the stage, Ivy’s dressing room to the backstage office, to the bar where they meet and drink, a lot (modeled after Sardi’s and hung with caricatures of the stars).
Will the team of Bombshell learn to get along and work together, and will the show be a hit? Will the followers and hate-watchers of the short-lived TV series make the Broadway farce of SMASH a smash, or will it follow the same trajectory as the original and be cancelled after a short run? [It was, following being snubbed by the Tony Awards.] It doesn’t really matter; either way, the dedicated theater community will follow the advice of Hal Prince, forget about it, and move on to the next show.
Running Time: Approximately two hours and 30 minutes, without intermission.
SMASH plays through Sunday, June 22, 2025, at the Imperial Theatre, 249 West 45th Street, NYC. For tickets (priced at $84-329, including fees), call (646) 410-2277, go online, or visit TodayTix here.
