Smash

Chatting with two theater critics beforehand, who referenced the 2012 NBC television series also called “Smash,” I was initially distracted. The TV series set in the present revolved around two aspiring actresses who compete for the role of Marilyn Monroe in a Broadway-bound musical called “Bombshell,” about Marilyn Monroe. Apparently, the TV series which devolved into a musical soap opera, lasted two seasons then was cancelled. Since I never saw the series, I tried to ignore the critics’ comments. I fastened my seat belt and settled in to watch the revamped production in its current run at the Imperial Theatre with tickets on sale through January 4, 2026.

I had no reason to”fasten my seat belt.” Smash is a winner. Superbly directed by Susan Stroman, a master of comedic pacing and the quick flip of one-liners, Smash is a resounding must see, retaining little of the TV show with the same title. I adored it and belly-laughed my way through the end of Act I and throughout Act II.

Into the first act when Ivy Lynn (the grand Robyn Hurder), introduces her Method Acting coach, Susan Proctor (the wonderfully funny Kristine Nielsen channeling Actors Studio Paula Strasberg), I embraced the sharp, ironic and often hysterical, theater-referenced send-ups. The book by Bob Martin & Rick Elice is clever and riotous, pushing the true angst of putting on a big Broadway musical and spending millions to make it a success. Martin and Elice’s jokes and the characterizations of Nielsen’s Susan Proctor and director Nigel, the LOL on point Brooks Ashmanskas (The Prom), who tweaks the gay tropes with aplomb, work. Both actors’ portrayals lift the arc of the musical’s development with irresistible comedic riffs shepherded by Stroman’s precise timing.

The music had me at the opening with the vibrant fantasy number, “Let Me Be Your Star,” sung by Robyn Hurder, whose lustrous voice introduces Marilyn and her fandom which the creators attempt to envision with fully costumed performers singing for their musical, “Bombshell,” the Marilyn Monroe story. Then, the scene shifts to the rehearsal room where we meet the creative team who imagined the previous number and scene. Ashmanskas’ director/choreographer Nigel humorously bumps heads with writer/lyricist/composer-husband and wife team Tracy (Krysta Rodriguez) and Jerry (John Behlmann).

Also present, is his associate director and Nigel’s right arm, the golden voiced Chloe (Bella Coppola). She runs interference and puts out fires, even covering for Ivy Lynn and understudy Karen (Caroline Bowman), during an audience invited presentation. Why Ivy Lynn and Karen can’t go on is hysterical.

The music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, and the choreography by Joshua Bergasse are upgraded from the TV series with a curated selection of songs to align with the comedic flourishes. The musical numbers and dances cohere perfectly because the performers rehearse for their show “Bombshell.” With music supervision by Stephen Oremus, an 18-piece orchestra charges the score with vibrant dynamism. Featured are some of Shaiman’s brassiest tunes, orchestrated by Doug Besterman. Lyricist Wittman seals the humor and advances the plot. All provide grist for Bergasse’s choreography. Hurder manages this seamlessly as she sings, breathes heartily and dances while the male dancers whip and flip Ivy as Marilyn around. Of course, all smile with effortless abandon despite their exertions.

Importantly, Martin and Elice’s book sports farcical, riotous moments. These build to a wonderful crescendo by the conclusion. By then we realize we’ve come full circle and have been delighted by this send up of the wild ride these creatives went through to induce the belly-laughing “flop,” we’re standing, cheering and applauding. It’s the perfect ironic twist.

Indeed, once the audience understands the difference in tone from the TV series, largely due to Nielsen’s Proctor (she’s dressed in black mourning {Marilyn?} from head to foot), and Ashmanskas’ Nigel, Smash becomes a runaway train of hilarity. This comedy about unintentionally making a musical flop (unlike the willful intent in The Producers), smartly walks the balance beam by giving the insider’s scoop why “Bombshell” probably never finds a home on Broadway. One of the reasons involves too many chefs trying to make a Michelin starred dish without really understanding how the ingredients meld.

Nielsen’s Proctor dominates Ivy Lynn to the point of transforming the sweet, beloved actress into the “difficult,” “tortured soul” of diva Marilyn. The extremes this conceit reaches is beyond funny and grounded in truth which makes it even more humorous. Without giving too much away, there is a marvelous unity of the book, music and Hurder’s performance encouraged by Nielsen’s Marilyn-obsessed Proctor. We see before our eyes the gradual fulfillment (Proctor’s intention), of “Marilyn,” from superficial, bubbly, sparkly “sex bomb,” to soulful, deep, living woman produced by “the Method.” Of course to accomplish this, the entire production as a comedy is upended. This drives Nigel, Tracy and Jerry into sustained panic mode, exasperation and further LOL behavior especially in their self-soothing coping behaviors.

Furthermore, Producer Anita (Jacqueline B. Arnold), forced to hire Gen Z internet influencer publicist Scott (Nicholas Matos), to get $1 million of the $20 million needed to fund the show, mistakenly allows him to get out of hand, inviting over 100 influencers to Chloe’s serendipitous cover performance. The influencers create tremendous controversy which is what Broadway musical producers usually give their “eye teeth” for. Publicity sells tickets. But this controversy “backfires” and creates such an updraft, even Chloe can’t put the conflagration out. The hullabaloo is uproarious.

The arguments created by the influencers and their followers (in a very funny segment thanks to S. Katy Tucker’s video and projection design), cause huge problems among the actresses and forward momentum of “Bombshell.” Karen, Ivy Lynn’s friend and long time understudy, who has been waiting for a break for six years, watches Chloe become famous overnight for her cover. Diva Ivy Lynn who IS Marilyn is so “over the moon” jealous and threatened, she breaks up her close friendship with Karen and turns on cast and creatives, prompted by Nielsen’s Proctor who keeps up Ivy Lynn’s energy with a weird combination of mysterious white pills and even weirder “Method” tips.

Thus, the musical “Bombshell” becomes exactly what the creatives swore it would never become and someone must be sacrificed. Who stays and who leaves and what happens turns into some of the finest comedy about how not to put on a Broadway flop. Just great!

Smash is too much fun not to see. What makes it a hit are the superb singing, acting and dancing by an expert ensemble, phenomenal direction and the coherence of every element from book to music, to the choreography to the technical aspects. Finally, the show’s nonsensical sensible is brilliant.

Praise goes to those not mentioned before with Beowulf Boritt’s flexible, appropriate set design, Ken Billington’s “smashing” lighting design, Brian Ronan’s sound design, Charles G. LaPointe’s hair and wig design, and John Delude II’s makeup design.

Smash runs 2 hours, 30 minutes, including one intermission at the Imperial Theatre (249 West 45th street). https://smashbroadway.com/