Welcome to Smash'ed, a tongue-in-cheek recap of what is television’s most detailed depiction of the theatre industry. And yes, we’re still talking about Smash, the NBC series that chronicled the creation of a Broadway musical and all of the drama that ensued along the way. Hosted by Aaron J. Albano (Newsies, Hamilton) and Mo Brady (The Ensemblist) Smash'ed goes back episode by episode to see how this supposed love letter to Broadway has held up over the past decade. In each episode, we’re looking to find the answers to these three questions:Did it represent Broadway then? Does it represent Broadway now? Is it any good?
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#362 - Smash'ed (Season 2 Wrap-up)
Saison 30
vendredi 28 août 2020 • Durée 27:28
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#360 - Smash'ed (Season 2, Episode 17)
Saison 30
vendredi 21 août 2020 • Durée 25:14
Smash’s series finale “The Tonys” premiered on May 26th, 2013. It was the second part of a two-part series finale event that night. The finale was written by season 2 showrunner Joshua Safran, and directed by Michael Morris, who directed the previous episode as well (again, two-parter). And surprise, surprise, the viewership stayed the same from the previous episode (which was an hour ago) which came in at a steady 2.44 million viewers.
Our finale’s set list was comprised of three songs: one cover and two originals. Our cover featured the majority of our principal cast singing “Under Pressure” by Queen. For our originals we were treated to a very Pitch-Perfect-esque Tony Performance of the Hit List staple “Broadway Here I Come,” written by Joe Iconis and performed by the full Hit List Cast (sans Mara Davi), and as our finale ultimo, in-house team Marc Shaiman and Scott Whitman took the series home with their original song “Big Finish” sung by our leading-lady duo, Megan Hilty and Katharine McPhee.
After two seasons, the companies of Bombshell and Hit List are both “Under Pressure” as they march toward the Marquis Theatre - home of this year’s Tony Award ceremony. With only 12 hours until the big show, Tom and Julia are writing their possible acceptance speech, Derek is drinking to forget that he publicly admitted casting Daisy in exchange for sex, and Leigh and Ivy discuss how the other one has better chances of winning.
Jimmy is sabotaging himself by attempting to get out of attending the ceremony, until Julia has a “Come to Jesus” with him to get the balls to attend. Also, Derek is sabotaging himself by attempting to get out of attending the ceremony, until Ivy has a “Come to Jesus” with him to get the balls to attend. But both end up attending, which is good because they both end up accepting awards: Derek for choreographing Hit List and Jimmy on behalf of Kyle of Hit List’s book.
Gabe and Lexi are furious that they’ve been called in to perform at the Tony Awards to support Daisy, until Ivy reminds Karen and company that they can refuse to perform with her. When they do, producer Jerry counters by giving Daisy the chance to perform “Reach for Me” instead. But following her win for Best Featured Actor, Derek decides to make it right and take Daisy out of the Tony performance, putting in Karen, Jimmy and (surprise) Ana in an a cappella performance of “Broadway, Here I Come.”
After winning for Best Score, newly minted Tony winners Tom and Julia decide to stay together as a writing team. Ivy gives a touching ode to live theatre in her acceptance speech for Best Actress and while Hit List walks away with most of the initial awards, Eileen Rand’s Bombshell takes home the prize for Best Musical.
In its closing moments, the cast of Smash couples up - Ivy with Derek, Julia with Michael Swift, Eileen with her formerly imprisoned bartender, Karen with a prison-bound Jimmy- and the series finale ends with as much of a non-sequitur as it began: an out-of-time duet performance by our two divas giving the show a “Big Finish.”
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#318 - Smash'ed (Season 2, Episode 8)
Saison 30
jeudi 18 juin 2020 • Durée 26:08
The role of Marilyn’s mother, Gladys, has finally been cast and rather than going with Patti LuPone, Eileen and Tom have gone with someone a little closer to home: Ivy’s mother: The Broadway star Leigh Conroy is stepping out of retirement to play the role only she could play! Ivy can only feign excitement about the casting, as her relationship with Leigh is filled with competition.
Karen’s Dad is also in town on business, but it means that he can stop by Hit List rehearsal and attend the theatre’s gala that evening. Since the gala is Hit List’s introduction to the board members and theatre patrons, Scott Nichols wants to add the Diva’s number to the gala performance.
In rehearsal, Ivy and Leigh are dealing with the tension by being nice to each other. Too nice, in fact, that they aren’t playing any of the stakes in the book scenes. That is, until they begin to tell disparaging stories about each other in front of the entire company. But in performing a heartfelt ballad called “Hang the Moon,” both pairs of Gladys and Marilyn, as well as Leigh and Ivy seem to feel empathy for one another. The song makes Mailyn, Ivy and Julia all cry.
At the Manhattan Theatre Workshop’s gala, Karen’s rendition of “Broadway, Her I Come” goes well, but it’s Ana’s gravity-defying performance of “Reach For Me” on silks that brings the house down. And when the Arts Editor of the New York Times commends Ana’s performance, Scott Nichols wants to make the character bigger. And who does he ask to help work as dramaturg to make it happen but Bombshell writer Julia!
And while Karen’s dad isn’t initially behind her leaving Bombshell, after her gala performance he can see why she would both make the jump to Hit List and be interested in Jimmy. But Jimmy is having his own problems, including stealing from the gala’s coat check to pay off a drug dealer.
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#313 - Smash'ed (Season 2, Episode 7)
Saison 30
jeudi 11 juin 2020 • Durée 26:03
“Musical Chairs” premiered on March 19th, 2013. It was written by Becky Mode, and was directed by Broadway’s very own, Casey Nicholaw! The viewership was down again from the previous week, by about a quarter-million viewers, amounting to a total of 2.66 million.
We saw two full original songs and two excerpts this week, which means, no pop covers! Our in-home team of Shaiman and Whitman wrote Liaisons’ Ce N’Est Pas Ma Faute (It’s Not My Fault) sung by Sean Hayes, and Bombshell’s The National Pastime, sung and tapped by Katherine McPhee and the Bombshell ensemble. From Hit List we heard a reprise of Heart Shaped Wreckage from last week, and a new opening song called Rewrite This Story, written by Pasek & Paul.
Now that Derek is signed onto direct Hit List, Scott Nichols of Manhattan Theatre Workshop offers the theatre’s 80-seat underground space. He is afraid it doesn’t have much of an overwriting theme to appease his mainstage subscribers, but he will reconsider if stubborn Jimmy and agreeable Kyle are able to reinvent Hit List by Friday.
Taking over the direction of Bombshell is harder than Tom anticipated - it’s like Tom and Karen are speaking different languages. In the absence of any legal agreements about using Derek’s concepts in Bombshell, Tom is forced to reinvent the show. And in the absence of Derek’s choreography, Tom’s staging on numbers like “The National Pastime” turn Bombshell into a sugar-induced headache.
What the show also needs is to get rid of Jerry Rand as a producer. The silver bullet comes in the form of a contract Eileen signed with the Marilyn Monroe estate for the use of her journals - which heavily influenced Julia’s book. In a hostile takeover, the women of Bombshell force Jerry to sign over the show to Eileen.
At Liaisons, Ivy has cemented her talent as “The Terry Whisperer,” but she and Terry both hate this “meh” version of the show and make a pact that it might as well go down in a blaze of glory. With an over-the-top version of a Terry Falls-helmed number called “It’s Not My Fault,” Liaisons announces that it will close at the end of the week, making Ivy a free agent.
The musical chairs between Bombshell and Hit List come to a head at the opening night of Liasions, where everybody wants what they can’t have: Jerry and Karen want Derek to return Bombshell, while Derek wishes that he had a book writer like Julia and a star like Karen. It’s unclear what Jimmy wants, other than to not write a new opening number for his show.
Karen starts the musical chairs in motion, acknowledging to Tom that she’s not his Marilyn - Ivy is. Derek also admits to Kyle and Jimmy that he believes in Hit List so much he will even direct the show in a 80-seat blackbox. But it turns out he doesn’t have to - when Jimmy writes Hit List a banger of a new opening called “Rewrite This Story.”
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#308 - Smash'ed (Season 2, Episode 6)
Saison 30
vendredi 5 juin 2020 • Durée 24:57
“The Fringe” premiered on March 12, 2013. It was written by Julia Brownell, and directed by Dan Lerner, two more newcomers to the Smash family. The viewership was up this week! Up 220,000 from the previous episode, “The Fringe” was seen by 2.9 million viewers.
We saw three songs and a reprise this week: one of which was a cover of “This Will Be Our Year” by The Zombies, sung by the Hit List cast. The other two and a half were original songs from all three of our musicals! Marc Shaiman and Scott Whitman delivered us a reprise of “Never Give All the Heart” from Bombshell, and a Glitter-and-Be-Gay inspired number from Liaisons called “A Letter From Cecile.” Lastly, from Hit List we got a new song called “Heart Shaped Wreckage,” written by Julian Emery, Jon Green, James Lawrence Irvin, and Lucie Silvas.
Hit List has booked a spot in the Winter Fringe after all! It’s only two presentations in shoebox, but Jimmy is convinced Hit List is good enough to outshine the venue. Which is good because the show gets picked up by Time Out and “a bunch of theatre people RSVP’d!”
Back at Bombshell, Eileen has decided to produce the dynamic, technicolor fantasy that Tom and Jerry prefer, much to the schgrin of Julia and Derek. Karen is all lined up to star in Hit List, but Jerry can’t be “introducing Karen Cartwright” if she’s already been introduced at the Winter Fringe, which leaves Jimmy, Kyle and the rest of the Fringe crew understandingly ticked off about Karen’s backing out.
At a coffee klatch in Madison Square Park, Ivy tells Derek that Terry Falls continues to derail Liaisons into a farce. But he replies that standing out as good in a bad show is a time-honored theatre tradition and to follow her instinct. She spices up the production’s press preview by adding her own brand of humor, but her good work threatens Terry Falls. Only in an 11th hour company meeting does Terry have the balls to invite the company to
Bombshell’s new producer Jerry Rand continues to meddle with Julia’s script, suggesting they cut the intellectual downer of a song “Never Give All The Heart.” He and Eileen give Tom a challenge: change it into an uplifting song that makes them feel something in the next 24 hours. The composer puts a new spin on the song, making it a cautionary tale, empowered instead of wistful. But Tom’s direction puts Derek over the edge, quitting the show and storming out of rehearsal. And Eileen loves the work enough to crown Tom Bombshell’s new director.
Derek’s departure from Hit List frees up Karen to perform in the second night of Hit List at the fringe, as well as making him available to watch her in it. Derek is taken by the show and the performances of both Karen and Jimmy. Scott Nichols, artistic director at Manhattan Theatre Workshop says the show is actually the kind of project he is looking for.
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#301 - Smash'ed (Season 2, Episode 5)
Saison 30
vendredi 29 mai 2020 • Durée 22:54
“The Read-Through” premiered on March 5, 2013. It was written by Liz Tuccillo, and directed by David Petrarca, both in their Smash debuts. The episode premiered to a viewership of 2.68 million this week, down .36 mil from the previous episode.
We didn’t have a whole lot of music this week, despite hearing the read-throughs of two different shows. We saw a Bombshell fantasy Act 2 opener, complete with tap break, called “Public Relations” by Marc Shaiman and Scott Whitman, and a snippet of Hit List’s “Caught in the Storm” by Pasek and Paul, Jeremy Jordan rendition. We also saw a fantasy sequence to a cover of “Some Boys” originally by Death Cab For Cutie.
Bombshell has booked the Belasco! In a walkthrough of their new home, Tom imagines a new second act opener for Bombshell called “Public Relations” which looks remarkably like a song from Catch Me If You Can, down to the plane set and stewardess. Now finishing each other’s sandwiches, Julia and Peter stroll in late to the walkthrough late but thrilled with the new script draft they’ve created together.
Despite multiple sexual misconduct allegations, Derek has friends in high enough places to get Hit List a spot in the “Winter Fringe Festival.” But with the Festival in just two weeks, Karen and Ana rally Bobby, Jessica and the rest of their ensemblist cohorts join for a read through where they learn that while Jimmy's music is great, Kyle’s dialogue and the characters… aren’t. But after their failed reading, Jimmy, Kyle, Ana and Karen crack the code that could turn into a success: scrap the book scenes and make the show sung through.
A week into rehearsal for the Broadway revival of Liaisons, Ivy finally meets her co-star Terry Falls. But Terry doesn’t even know his stage left from his stage right, turning “a real drama into Spamalot!” However, Ivy will have none of it - refusing to stoop to conquer and teaching Terry how to act in the process.
Ahead of a reading of the new Bombshell script, Julia hears rumors that Peter has purposefully upended other shows by feeding the writers ideas bad enough to be fired. But despite those rumors, the reading goes off swimmingly with all parties impressed by the rewrites. So much so that Derek halts his plans to take Hit List to the fringe after all.
It’s an artistic triumph, but their new producer Jerry Rand says it’s not commercial enough to be a financial hit. With a hung jury of creatives, Jerry, Derek, Tom and Julia leave it up to Eileen to make the decision about which Marilyn musical to bring to Broadway: a sexy, provocative insightful musical or a lush, dazzling spectacle...
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#296 - Smash'ed (Season 2, Episode 4)
Saison 30
vendredi 22 mai 2020 • Durée 23:18
“The Song” premiered on February 26th, 2013. It was written by Bathsheba Doran, and directed by Michael Morris, whose work we last saw in the season two premiere. The viewership was down a quarter-million from last week, amounting to 3.04 million viewers tuning in on premiere night.
We had five featured songs in this episode, with only one pop cover this week! Yay! That cover was Billy Joel’s “Everybody Loves You Now” sung by Andy Mientus and Jennifer Hudson. The only other non-original song was “I Got Love” from the musical Purlie, featured both in its original arrangement and it’s more Derek Wills-Esque risqué arrangement. Lastly we had three Shaiman/Whitman originals, “I’m Not Lost,” “Chest of Broken Hearts,” and the titular song itself, “I Can’t Let Go.”
Veronica Moore has got love for her new one-night-only concert, but with a song list of her greatest hits, Derek is afraid the showcase is just “another good girl role for Broadway’s Sweetheart.” As if by kismet, Kyle and Jimmy are looking to get noticed by trying out their material somewhere that counts. That place just happens to be Veronica’s concert, when Derek challenges the duo to present him with a new song for her to debut.
As the concert’s music director, Tom tells Kyle and Jimmy that while their trunk songs are good, they aren’t right for the concert. Kyle says that they’ll write “Something Ronnie and Derek, Broadway and them” in the next 24 hours (the same time it took Sondheim to write “Send in the Clowns.” But then Veronica’s “Momager” threatens to fire Derek for making the concert too adult, he succumbs and tells Kyle and Jimmy that their services are no longer needed.
One of the concert’s back-up dancers goes MIA as - “and I quote - ‘my boyfriend requested that I no longer work with Derek.’” Ivy Lynn pinch hits as it turns out she was a swing when Veronica was Audrey in Little Shop. And in the biggest surprise of all, Karen is actually OK with working with Ivy.
Julia feels hoodwinked when Peter the dramaturg invites her to his NYU class, only to have his students critique her Bombshell script. But after confronting him about his games, they end up day drinking on a weekday and cracking the code to fixing her Bombshell script.
Ivy ends up becoming mother hen to the concert: inspiring both Ronnie and Derek to listen to their guts when it comes to the song list. And that final song list ends up including a new song by Jimmy and Kyle after all: a soaring ballad called “I Can’t Let Go.”
One last coda: Bombshell is freed of its legal troubles and OK’ed to move to Broadway but under one condition: Eileen isn’t allowed to produce it any more. Somehow, that pesky Ellis still ruins everything!
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#290 - Smash'ed (Season 2, Episode 3)
Saison 30
vendredi 15 mai 2020 • Durée 22:15
“The Dramaturg” premiered on February 19th, 2013. It was written by Larry Shaw, and directed by Bryan Goluboff, both newcomers to Smash as of season 2. The viewership was 3.29 million viewers, which was 1.16 million down from the previous episode two weeks prior.
We saw new material from both of our up-and-coming shows this episode! We were treated to a brand-new song from Bombshell, called “Our Little Secret” written by Marc Shaiman and Scott Whitman, and a preview of a song from currently-unnamed-show-soon-to-be-known-as Hit List, called “Good For You” written by Drew Gasparini. The episode also featured Megan Hilty singing a cover of Robyn’s ”Dancing On My Own,” as well as snippets of The Wiz’s “Soon As I Get Home” sung by Jennifer Hudson, and Katherine McPhee’s mini-rendition of “They Just Keep Moving The Line.”
Eileen demands that Tom and Julia meet with a dramaturg named Peter Gilman to make the quick fixes she thinks the show needs. Tom thinks Peter could be a shepherd for their play, but Julia is afraid dramaturgs are parasites especially when he reads her for focusing on DiMaggio instead of putting the sex appeal into Marilyn herself.
Derek knows that new musicals take years to develop, but needs something now, something big. So he’s burning the candle from three ends: staging a Bombshell number for producers, scheming with Veronica Moore to get his job back at The Wiz and agreeing to meet Kyle and Jimmy about the plot that goes around their great songs.
Ivy talks Smash’s real casting director Bernie Telsey into letting her audition for a revival of Liaisons, but feels like she has little chance of booking up again “real names” like Jen Damiano and Jessie Mueller. When she stops by Bombshell rehearsal to ask Derek for advice, she realizes that she needs to start “dancing on her own.” Tom helps her to realize the Liaisons role is more like Marilyn than she imagined, but the boost helps her win the part.
Inspired or in spite of Peter Gillman, Julia writes a non-PG number for Marilyn and JFK called “Our Little Secret.” It loses Derek a job on The Wiz but Eileen calls it the perfect direction for Bombshell.
Jimmy is his usual angry-white-man self, seemingly pissed off at every opportunity Karen and Kyle provide him to share their show with the world. When they finally meet, Jimmy describes the story of their show: a young man who hates the world but has a treasure trove of mind blowing music. Stealing his songs to catapult her to fame, a female fling gets addicted to the fame his music provides - and he lets her even though his love will destroy him. Derek is intrigued enough to pound beers with the team, and they begin their work on the new musical...
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#286 - Smash'ed (Season 2, Episode 2)
Saison 30
vendredi 8 mai 2020 • Durée 23:41
“The Fallout” premiered on February 5th, 2013, immediately after the premiere episode. (Aww, remember those two-hour premieres that networks used to do back in the day, Mo?) It was written by Julie Rottenberg & Elisa Zuritsky, whose previous work we saw in the season 1 episodes “Let’s Be Bad” and “The Movie Star,” and was directed by Craig Zisk. Now, here’s a weird thing: viewership for this episode was 4.45 million, down from 4.48 in the previous episode WHICH WAS AN HOUR AGO. I guess 30,000 people collectively turned off their TVs after hour 1?
We had three featured songs in this episode: one cover of the Eurythmics’ “Would I Lie To You?” And two original songs by two different musical theatre composers: the first by then-up-and-comer duo team Pasek & Paul called “Caught in the Storm” sung by Katherine McPhee, and the second by our home team of Marc Shaiman and Scott Whitman called “They Just Keep Moving the Line” sung by Megan Hilty.
Eileen summons her bruised songwriting team to attend the American Theatre Wing gala, but Julia can barely get out the door let alone put on cocktail attire. But Julia heard from Mary Testa who heard from Jackie Hoffman who heard from Cheyenne Jackson who heard from Harvey Fierstein that she and Julia would be presenting at the gala (a lie that Tom made you on the street).
In addition to Bombshell being put on ice, Derek gets fired from The Wiz - not only because he shagged a couple of actresses but the five dancers are accusing him of sexual harassment. One of them, Daisy, serves Derek the T in front of Schnippers, saying “You don’t get it. You’re a big shot Director. You’re in a position of power from the mind you wake up in the morning and you don’t treat that power with respect.” Derek second guesses his serial seducing in a dream sequence set to the Eurythmics' “Would I Lie To You?”
Ivy is considering leaving the business, as she’s going in for parts that she would have passed on two years ago. But running into a drunken Derek on a stoop, he leaves her with one nugget of wisdom: “You weren’t my Marilyn, but what do I know?”
Karen Cartwright hunts down the young and unknown composing team. Half of the team, a twink named Kyle, is eager to collab with Karen. But while his songwriting partner Jimmy is cute enough to go to Greenpoint for, he is anything but agreeable. Even her attempts to wow Jimmy with an impromptu performance of one of his songs drives him away. Jimmy retorts that he doesn’t need help to make it big, but decides the next day that he’ll give it a go with Karen for Kyle’s sake.
The American Theatre Wing gala becomes an embarrassment for the Bombshell crew, when Tom gets caught in his lie about presenting and Eileen is asked to leave by the League president. But she decides to leave the industry with a parting shot to remember: an announcement that Bombshell is coming to Broadway this season followed by Ivy Lynn giving a stunning rendition of a never-before-heard tune called “They Just Keep Moving The Line.”
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Smash'ed (Season 2, Episode 1)
Saison 2 · Épisode 1
vendredi 1 mai 2020 • Durée 20:48
“On Broadway” premiered on February 3rd, 2013. It was written by new showrunner Joshua Safran, and directed by Michael Morris, who had also directed the season 1 finale. The episode unfortunately did not premiere to as wide an audience as the season 1 premiere or even the season 1 finale; the viewership came in at 4.48 million, about 1.5 million fewer than the finale and almost 7 million fewer than the pilot. Wow.
The premiere featured 6 songs: three original songs by our original team of Marc Shaiman and Scott Whitman, which were the good ol’ “Let Me Be Your Star,” a new song from Bombshell called “Cut, Print...Moving On,” and a new song from a different musical altogether, called “Mama Makes Three” from the show Beautiful (no, not that Beautiful) starring JHud. The two covers in this episode were the titular song “On Broadway” by the Drifters, and “Don’t Dream It’s Over” by Crowded House. Most notably though, the Season 2 premiere marks the introduction of composer Joe Iconis, who wrote the song “Broadway, Here I Come!” Iconis was the first of many musical theatre composers who were able to feature their work throughout the second season of Smash.
After closing the pre-Broadway run of Bombshell, Producer Eileen Rand assembles her growing team to announce her goal of booking a Broadway theatre by the end of the week. She’s also planning a soirée for potential investors and invites Karen to pick her three back up singers (Her selections do not include the libertine Ivy Lynn, who Karen is still angry with for sleeping with her ex-boyfriend.)
Derek takes Karen to see his former leading lady Veronica Moore tear the roof off of the St. James in a musical called Beautiful. However, this is not the Carole King biomusical but a rousing gospel show. After the performance, Veronica tells Karen “Someone’s always waiting to take you down, honey. But if the work is good, they won’t be able to.”
Disdain for Ivy seems to be growing within the production; While other pre-Broadway ensemblists gave received offers for Broadway, Ms. Lynn is still waiting to hear. At rehearsal for the producer soirée, Ivy asks Julia advice. The lyricist tells her, “Maybe you apologized to Karen, but you were apologizing for the wrong thing.”
On their way to the event, composer Tom congratulates his boyfriend Sam on getting offered the General in The Book of Mormon tour. Sam says he would rather stay with his ten lines in Bombshell in order to be close to Tom. But as they canoodle down Central Park West they spot Julia’s husband caressing a coworker, effectively the final straw in ending her dissolving marriage.
Covering for a truant Jordan Roth at the investor event, Veronica and Karen duet on an impromptu rendition of “On Broadway.” Afterwards, Derek tells Ivy that she won’t be joining the Bombshell cast on Broadway. However, the real drama happens after the performance, when Eileen tells Karen and the creative team that Bombshell is being investigated. While the government is looking into how Eileen received the financing, Bombshell is effectively on hold for the foreseeable future.
The next day, Derek commiserates with Karen about how they’re both out of work, telling her “call me if you hear about something else.” But later that night while nursing a drink at a Restaurant Row piano bar, Karen meets a team of musical theatre songwriters who may just be Derek’s “something else.”
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