Smash – Musical – Review – Imperial Theatre – Shows I've Seen

@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!