Broadway – Shows I've Seen

Smash – Musical – Review – Imperial Theatre

@showsiveseen "#Smash" #musical at the Imperial #Theatre starring @robynhurder as Ivy Lynn & #marilynMonroe. Based on the TV show. Incredibly tight choreography from Joshua Bergasse. Overflowing with incredible showstopping spectacles. So sad that it closed on #Broadway last week. Hopefully, they’ll go on national tour. #Review: showsiveseen.com/12973 Director: Susan Stroman Music Director: Paul Staroba Book: Bob Martin & Rick Elice Music/Lyrics: @Marc Shaiman and Scott Wittman Stage Mgr: Jillian M Oliver #musicalTheatre #showsiveseen #methodActing @Smash Broadway ♬ Let Me Be Your Star – Bella Coppola

Elevator Thoughts (aka Tweet): Smash musical at the Imperial Theatre starring Robyn Hurder as Ivy Lynn & Marilyn Monroe. Based on the TV show. Incredibly tight choreography from Joshua Bergasse. Overflowing with incredible showstopping spectacles. So sad that it closed on Broadway last week. Hopefully, they’ll go on national tour.

Recommendation:
See it, especially if you enjoy musicals about musicals.

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: Medium to high

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes

My Synopsis (No Spoilers): A theatre production team embarks on the chaotic journey of mounting a Broadway musical about Marilyn Monroe. Hilarity unfolds as the director, producer, intern, writers, actors, stage manager, acting coach, and assistant director scramble backstage. This behind-the-scenes romp is both a comedy of errors and a heartfelt love letter to the magic (and madness) of producing a Broadway show.

Synopsis from the Licensor or Theatre Company: Inspired by the hit TV series, SMASH is the perfect musical-lover’s musical. Get ready for all the backstage pandemonium as opening night approaches for Bombshell, the splashy new show about Marilyn Monroe. Nearly breaking under the pressure, legendary Broadway star Ivy Lynn causes a series of hilarious set-backs and surprises that brings a diva director, a bewildered producer, two exasperated authors, one eager understudy, and an entire company to its knees. But the curtain’s going up, no matter what!

Type: Musical

World Premiere: Yes

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic

Prior Exposure/Knowledge Required: You’ll appreciate this show more if you’re familiar with Broadway musical theatre references. Obviously, you’ll probably also enjoy this more if you watched the original TV show. I personally didn’t see the TV show, but I heartily enjoyed the musical. Lastly, it helps if you know a little about Marilyn Monroe.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Hook: The show opened with a captivating spectacle led by Robyn Hurder as Ivy Lynn, the actress portraying the legendary bombshell Marilyn Monroe. The song was filled with iconic moments like “Happy Birthday, Mr. President,” “Diamonds Are a Girl’s Best Friend,” and Monroe’s sultry nod to Chanel No. 5.
Choreography: Joshua Bergasse’s classic Broadway-style choreography was sizzling and tight. It crackled with energy and precision, capturing the essence of old-school showbiz flair. Side note, I’m surprised that there wasn’t a tap number, especially in a musical about making a musical.
Nigel: Brooks Ashmanskas delivered a hilariously over-the-top performance as Nigel, the flamboyant and melodramatic director. His portrayal in Smash evoked fond memories of his equally delightful role as Barry Glickman in The Prom.
Male Sex Appeal: This show wasn’t shy about flaunting its assets of muscley, charismatic performers (notably Equinox instructor Casey Garvin). They unapologetically leaned into the old adage that “sex sells” during the song with shirtless baseball players in a locker room. Of the six Broadway shows I saw this week, this one clearly drew the crowd with the most gays. The production knew its audience and delivered exactly what they’d appreciate.
Theatre Influencers: I enjoyed the cheeky jab at theatre influencers (such as yours truly). It’s not entirely wrong that we can be a bunch of “entitled little shits.” But like it or not, we can be the tipping point between a show’s quiet run and breakout success.
Theatre Entrance: The final backdrop of the theatre entrance by scenic designer Beowulf Boritt was a thoughtful touch like a visual bookend that mirrored the audience’s arrival at the start. Just as the show began with the audience entering the theatre, it ended with the image of that very threshold, neatly framing the story on stage. It was a clever and fitting conclusion to a musical about musicals.
Future of Theatre Audiences: I loved the Gen Z intern Scott, who Nicholas Matos played with charm and energy. His character felt like a nod to the hopeful future of theatregoers. As a young person of color, Scott’s presence refreshingly contrasted to the predominantly elderly, white demographic we see in theatre audiences today.
Female Leads: Each of the Marilyn Monroe-inspired bombshells commanded the stage with a stunning powerhouse voice. The audience went wild every time each of them showcased their vocal belt.
Musical within a Musical: Staging, writing, or performing a show within a show inevitably adds a layer of complexity for the creative team. But they pulled it off with impressive finesse. It certainly required a little more mental engagement from the audience!
USO Performance: “I Never Met a Wolf Who Didn’t Love to Howl” evoked the spirit of vintage USO performances, reminiscent of the infectious swing in the classic “Boogie Woogie Bugle Boy.”

Other Musing(s) and Observation(s)

Off-the-wall Camp: The show was full of bizarre moments like horse laxative poisoning and outlandishly campy characters like a ghoulish witchy acting coach. It felt like a musical cousin to the chaotically over-the-top The Play That Goes Wrong. While those elements aren’t usually my cup of tea, camp has always had a home in theatre and we gays do have a soft spot for it.
End of Act One: I was proud to have predicted who would save the show by intermission. It was a satisfying twist that gave Act I a solid sense of closure. Honestly, they could’ve started the curtain call and I’d have been satisfied
Theatre Knowledge: I’ve always loved musicals that celebrate and satirize theatre itself like The Noteworthy Life of Howard Barnes, The Prom and Something Rotten! But I recognize that these shows often rely heavily on insider knowledge to land their jokes and references successfully. Terms like “ghost light,” “Tony voters,” “method acting,” and “stage manager” are second nature to theatre fans, but they can be confusing or meaningless to the average audience member. Even I’m not entirely sure what a producer actually does (though I know they’re vital) which means everyday viewers probably understand even less.
Slow Moments: At times, the dialogue felt oddly stilted and out of place in the otherwise ostentatious rhythm of the musical. These moments broke the narrative flow and stood out awkwardly against the show’s dynamic rhythm.
Original TV Show: Having never seen the original TV show, I’m curious how the musical stacks up. If you’re familiar with both, drop a comment on my social media and let me know how they compare!
Gossip: I’d love to know the backstage drama of a theatre diva that everyone hates to work with in real life. If you’ve got the inside scoop, spill the tea in my social media comments. I’m dying to hear the delicious details!

Venue: Imperial Theatre

Venue Physical Address: 249 W 45th St, New York, NY 10036

Venue Classification: Broadway

Price Range: $99-321

Dates: 3/11/25 to 6/22/25

Seating: Assigned Seating

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Pictures: See production pictures below by Matthew Murphy or Paul Kolnik.

Cast and Production Team: See after pictures below.

Robyn Hurder (Ivy Lynn) and the cast of SMASH. CREDIT: Paul Kolnik, 2025.

Robyn Hurder (Ivy Lynn) and the cast of SMASH. CREDIT: Matthew Murphy, 2025.

(left to right) Megan Kane (Holly), Brooks Ashmanskas (Nigel), Robyn Hurder (Ivy Lynn), Kristine Nielsen (Susan Proctor), Krysta Rodriguez (Tracy), and John Behlmann (Jerry) in SMASH. CREDIT: Matthew Murphy, 2025.

(left to right) Nicholas Matos (Scott), Jacqueline B. Arnold (Anita), John Behlmann (Jerry), Krysta Rodriguez (Tracy), Bella Coppola (Chloe), Brooks Ashmanskas (Nigel), and Kristine Nielsen (Susan Proctor) in SMASH; CREDIT: Matthew Murphy, 2025.

Krysta Rodriguez (Tracy) and John Behlmann (Jerry) in SMASH. CREDIT: Matthew Murphy, 2025.

Caroline Bowman (Karen) and the cast of SMASH. CREDIT: Matthew Murphy, 2025.

Real Women Have Curves – Musical – Review – James Earl Jones Theatre

@showsiveseen "Real Women Have Curves" #musical at the James Earl Jones #Theatre. Starring @Tatianna Cordoba. Timely story of resilience that hits close to home on what is happening right now in the USA. So many good quips in the script and lyrics. See it before it closes 6/29/25! #Review: showsiveseen.com/13073 Director/Choreo: Sergio Trujillo Music Director: Roberto Sinha Stage Mgr: Tripp Phillips and Kelly A Martindale Book: Lisa Loomer and Nell Benjamin Music/Lyrics: @Joy and @Benjamin Velez #Broadway #hispanic #spanish #musicaltheatre #showsiveseen @Real Women Have Curves ♬ Real Women Have Curves – Tatianna Córdoba & Carla Jimenez & Florencia Cuenca & Justina Machado & Real Women Have Curves Original Broadway Company

Elevator Thoughts (aka Tweet): Real Women Have Curves musical at the James Earl Jones Theatre. Staring Tatianna Cordoba. Timely story of resilience that hits close to home on what is happening right now in the USA. So many good quips in the script and lyrics. See it before it closes 6/29/25! #hispanic #spanish

Recommendation:
See it!

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: Medium to high

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Absolutely

My Synopsis (No Spoilers): Inspired by both the original play and film, the story follows Ana, a young Latina torn between familial obligations in Los Angeles and her aspirations of becoming a journalist at Columbia University in New York City. As she dreams of a future beyond the family’s garment business, she and her loved ones face mounting pressure to meet an impossible dressmaking deadline and to avoid the looming threat of deportation.

Synopsis from the Licensor or Theatre Company: But when her family’s East Los Angeles garment business receives a make-or-break order for 200 dresses, Ana finds herself juggling her own ambitions, her mother Carmen’s (Tony Award nominee Justina Machado) expectations, and a community of women all trying to make it work against the odds.

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic

Prior Exposure/Knowledge Required: A basic familiarity with Spanish is helpful for fully appreciating the show. For example, they mentioned some common expressions like “chisme” (gossip), “de nada” (you’re welcome), “pendejo” (a rude insult term for someone foolish/stupid), and “mira” (look). There were also more specific phrases, such as “sexo cada día” (sex every day) and “dulce pica candy” (a sweet-and-spicy treat). As with many Hispanic-themed productions like Laughs in Spanish, some understanding of the Spanish language enriches the experience and feels almost expected of the audience. Additionally, you’ll probably appreciate this show more if you’ve seen the play or the movie. Personally, I saw neither, but I still heartily enjoyed the musical.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.25 hours

Other Rave(s)

Hook: I’m a sucker for a strong opening hook in a theatre show. The catchy “Make It Work” song absolutely delivered in grabbing my attention.
Script and Lyrics: The script was sharply written, filled with poignant, clever, and often hilarious lines that drew frequent reactions from the audience. For example, they said “being an immigrant is like being born in debt.” Or to a worker’s complaint that “my sewing machine is vibrating,” their coworker replied, “enjoy it!” I’m curious how much of the dialogue originated from the film versus what the book writers (Lisa Loomer and Nell Benjamin) and lyricists (Joy Huerta and Benjamin Velez) crafted.
Broadway Bares: In the song “Real Women Have Curves,” the performers stripped down to their underwear as a bold, celebratory act of body positivity. They showcased a diverse range of bodies without the pressure to appear flawless on stage, on screen, or in photos. The cast included a plus-sized actress proudly wearing a muumuu and a woman dressed in butch lesbian underwear, further challenging narrow female standards. This act resonated with the audience and earned a standing ovation.
Menopause: In “Adios Andrés,” the cast sang a grandiose, uproarious ode to menopause. The moment echoed the spirit of Menopause the Musical, with its cheeky humor and unabashed celebration of womanhood.

Other Musing(s) and Observation(s)

Love Interest: Initially, I found it refreshing that the story didn’t revolve around a love interest. When one was introduced later on (played by the delightful Mason Reeves), it felt more like a side dish than the main course. It was easily ignorable and not central to the plot. However, the sex scene, though amusing with its quirky reporter role-play foreplay, felt out of place in the script. I would have been more impressed if the musical had fully committed to leaving out a romantic subplot crutch altogether. That bold choice would have made it stand out even more.
Ending Solution: I kept wondering how they’d pull off completing their dressmaking order deadline by the end of the show. The way it was resolved felt a bit anticlimactic and underwhelming. It missed a clever inventive twist that would’ve made for stronger storytelling.
Previous Works: Having never seen the original film or play, I wonder how they compare to this musical adaptation. I’m especially curious whether the earlier versions emphasized immigration and familial obligation themes as strongly as this one does. I was surprised by how little focus the musical placed on body positivity, which I had expected to be more central given the title. If you’ve seen the earlier versions of this story, let me know your thoughts in my social media comments!
Investment: The workers’ decision to hand their hard-earned paycheck back to the boss for business reinvestment left me baffled. Unless you’re a shareholder, why wouldn’t you keep it? Aren’t these people poor?
Tough Decision: Ana’s central conflict felt a bit like a no-brainer. She was torn between owning the family business (which promises more likelihood of financial stability and independence) vs pursuing a career as a journalist (which sounds as difficult as becoming a successful actor). If it weren’t for the full scholarship to an Ivy League university, the pragmatic part of me would have thought she should have just stayed home. But alas, “follow your dreams” is a better story.
Potential Future Production: It’s a shame this production is ending this weekend on Broadway. But, it could be a strong future fit for Seattle Repertory Theatre, especially given the theatre’s recent embrace of Latin-centered works like Quixote Nuevo, I’m Not Your Perfect Mexican Daughter, Laughs in Spanish, and In the Heights. Beyond thematic alignment, it’s the kind of script that speaks to Seattle’s enduring appetite for art that confronts cultural identity while nursing a warm cup of “white privilege guilt.”

Venue: James Earl Jones Theatre

Venue Physical Address: 138 W 48th St, New York, NY 10036

Venue Classification: Broadway

Price Range: $125 to $319

Dates: 4/1/25 to 6/29/25

Seating: Assigned Seating

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Pictures: See production pictures below by Julieta Cervantes.

Cast and Production Team: See after pictures below.

Tatianna Córdoba and Company. Photo Julieta Cervantes.

Mauricio Mendoza and Justina Machado. Photo Julieta Cervantes.

Florencia Cuenca Tatianna Córdoba and Justina Machado. Photo Julieta Cervantes.

Tatianna Córdoba and Aline Mayagoitia. Photo Julieta Cervantes.

Real Women Have Curves Company. Photo Julieta Cervantes.

Mason Reeves and Tatianna Córdoba. Photo Julieta Cervantes.

Florencia Cuenca and Company. Photo Julieta Cervantes.

Preview Post – Smash – Musical – Imperial Theatre

Smash Broadway musical at the Imperial Theatre. It’s a dang shame it closes this weekend 6/22/25. Don’t wait for my full review to buy tickets! #methodActing #marilynMonroe

Tickets: https://smashbroadway.com

Final Full Review: https://www.showsiveseen.com/smash-musical-review-imperial-theatre/

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Preview Post – Real Women Have Curves – Musical – James Earl Jones

Real Women Have Curves musical at the James Earl Jones Theatre in the NYC Broadway district. Full review coming soon, stitched with love like the dresses. #Mexican #hispanic #spanish

Tickets: https://www.realwomenhavecurvesbroadway.com/

Final Full Review: https://www.showsiveseen.com/real-women-have-curves-musical-review-james-earl-jones-theatre/

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Hell’s Kitchen – Musical – Review – Shubert Theatre

@showsiveseen #AliciaKeys & Kristoffer Diaz's "Hell's Kitchen" jukebox #Broadway #musical starring @maleah???? (Understudy Amanda Reid) at the Shubert #Theatre . Loved Kecia Lewis's sage matriarchal portrayal. Excellent sound design from Gareth Owen. #Review : showsiveseen.com/12020 Director: Michael Greif Choreography: Camille A Brown Conductor: Lily Ling Stage Mgrs: Danny Maly, Roxana Kahn, & Anthony Rigaglia @Alicia Keys @Hells Kitchen #showsiveseen ♬ Girl On Fire (Glee Cast Version) – Glee Cast

Elevator Thoughts (aka Tweet): Alicia Keys & Kristoffer Diaz’s Hell’s Kitchen jukebox musical starring Maleah Joi Moon (Understudy Amanda Reid). Loved Kecia Lewis’s sage matriarchal portrayal. Excellent sound design from Gareth Owen.

Recommendation:
See it!

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: High

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes

My Synopsis (No Spoilers): A spirited teenager from urban Manhattan navigates adolescence (think rebellious boy-crazy teenager) while discovering her innate musical talent. With guidance from her wise old neighbor, she hones her skills and finds her true voice in the process.

Synopsis from the Licensor or Theatre Company: Ali is a 17-year-old girl full of fire – searching for freedom, passion and her place in the world. How she finds them is a New York City coming-of-age story you’ve never felt before – HELL’S KITCHEN, a new musical from 17-time Grammy® Award winner Alicia Keys, whose songs and experiences growing up in NY inspire a story made for Broadway. Rebellious and stifled by an overprotective single mother, Ali is lost until she meets her mentor: a neighbor who opens her heart and mind to the power of the piano. Set to the rhythm of the 90s, HELL’S KITCHEN is a love story between a mother and daughter. It’s about finding yourself, your purpose, and the community that lifts you. Come remember where dreams begin.

Type: Musical

World Premiere: Technically no, since it was originally produced off-Broadway

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly dynamic

Prior Exposure/Knowledge Required: You’d probably appreciate this show more if you’re familiar with Alicia Keys’s discography

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

Hook: The musical opened with an energetic burst of street dancing that immediately captured the audience’s attention. Too often, musicals start too subtly, losing momentum right away. Unfortunately, after this dazzling introduction, the plot lost some of its initial spark. However, the production eventually found its rhythm and hit its stride.
Miss Liza Jane: Kecia Lewis delivered a standout performance as Miss Liza Jane, the sage and formidable neighborhood piano teacher. Her portrayal reminded me of my own strict piano instructor growing up who was skillful, wise, and deeply passionate about her craft. Miss Liza Jane embodied the very spirit of “Black Excellence.” She was a mentor who would undoubtedly champion its importance at every opportunity.
Sound Design: Sound engineering is often best when it goes unnoticed. But in this performance, it stood out in all the right ways. The balance of reverb and echo was perfectly calibrated. Even the smallest detail like the crisp, precise sound of a chopping knife was crystal clear. Whether it was the result of top-tier microphones or the natural acoustics of the Shubert Theatre, I was impressed. As this show embarks on its national tour, I hope the sound design in each venue lives up to this original NYC Broadway production.
Smooth Male Leads: This performance often radiated a captivating, smooth male energy. Brandon Victor Dixon’s voice was effortlessly smooth and it perfectly embodied the Davis character who was a charming yet flawed father full of empty promises. He was the type of man who can sweep you off your feet, only to disappoint you in the long run. In contrast, Phillip Johnson Richardson (who played love interest Knuck), also brought a smooth vocal quality to his performance, but his character was intentionally written to be less of a “playa” than Davis. Knuck refreshingly portrayed a regular non-thug man who went to church and didn’t want to be admired on a pedestal. It was an interesting contrast between these two characters, especially when you consider the old saying that we tend to date people with similar personalities as our parents.
Jersey: Jessica Vosk portrayed the role of a no-nonsense prickly urban mom who clearly loved her child. Her performance brought to mind Sheryl Lee Ralph’s iconic portrayal of the tough-love mother in Sister Act II who famously declared, “Singing does not put food on the table!” Vosk captivated the audience as she showcased her powerful vocal belt in the high notes of a song that explored the complexities of parenthood.
Tragedy: A heartbreaking moment in the second act clearly moved the audience. I could hear soft sniffles and see glistening tears nearby. I *might* have shed a tear myself. 😛 At one point, the person behind whispered to her friend, “Am I crying?!?” It’s a powerful reminder that great art can stir emotions.
Altercation: Speaking of raw emotions, one standout moment was the scene between Ali (played by Maleah Joi Moon) and Jersey engaging in an impassioned argument between an angsty rebellious teenager and a tired strict parent. The exchange was charged with tension, featuring two delicious “oh snap!” moments of physical outbursts.
Choreography: Camille A. Brown’s choreography felt purposeful and meaningful. Many moments, such as a poignant dance solo during a funeral scene, showcased interpretive dance-like movement to convey emotion and enhance the storytelling.
Piano: As expected from an Alicia Keys musical, piano music played a central role, weaving together jazzy and bluesy melodies rich with vibrant dissonance.
Costume Design: Costume designer Dede Ayite expertly recreated the aesthetic of 1990s urban fashion, particularly through the use of iconic pieces like Tommy Hilfiger and FUBU. The wardrobe choices evoke a nostalgic vibe, reminiscent of the style in Sister Act II.

Rant(s)

Ali: Ali was not written as a particularly likable protagonist. The “nobody understands me” rebellious teenager trope always annoys me. In her romantic relationship, she gave away her cards too easily. She was the female equivalent of a guy who disregards a woman’s boundaries and refuses to take no for an answer. While this might be seen as a feminist portrayal, she came across as selfish. Ali’s self-absorption was so intense that she failed to recognize the tragedy unfolding right in front of her until it was too late.

Other Musing(s) and Observation(s)

“Empire State of Mind” Song: As an Alicia Keys jukebox musical performing literally next to the Hell’s Kitchen neighborhood, it’s no surprise that “Empire State of Mind” was featured on the setlist. Unfortunately, its inclusion felt awkward and out of place within the show. Rather than seamlessly fitting into the narrative, it seemed more like a pandering attempt to capitalize on the song’s popularity. The performance also began in a key that was too low. While I certainly enjoyed hearing the song, it would have been much more impactful earlier in the show when Ali first expresses her love for New York City. It’s strange how the musical began as an ode to NYC, only to eventually abandon that theme. Similarly, the title and synopsis seem to suggest a deeper connection to NYC or the Hell’s Kitchen neighborhood, yet the story didn’t fully explore these elements.
Manhattan Plaza: Many scenes took place in the Manhattan Plaza building, which in reality is subsidized housing. However, the musical didn’t depict it like a low-income building. It seemed like a luxury high-rise in the musical, complete with a doorman and a grand piano. Weirdly, Ali ungratefully complained about feeling like a prisoner in a tower. Perhaps it’s due to my suburban background, but I’d love to live in a New York City high-rise like that. Give me that ivory tower!

Venue: Shubert Theatre

Venue Physical Address: 225 W 44th St, New York, NY 10036

Venue Classification: Broadway

Price Range: $58 to $321

Ticket Affordability Options: You can likely buy discount tickets at the TDF TKTS booth.

Seating: Assigned Seating

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Pictures: See production pictures below by Marc J Franklin.

Cast and Production Team: See after pictures below.