By That You Mean

“I love church!” –Karen Cartwright

Well, the past two episodes took us to Boston, where Bombshell bombed in previews. As 30 Rock showed us so well: nothing good happens when you take your NY show to Boston, its colder, inferior cousin. I loved Tom’s little musical number about going to previews that linked up the montage of everyone packing their bags. It was so cheesy, but I am a sucker for a montage. I feel it is my duty, however, to point out that everyone knows trains to Boston do not leave from Grand Central, and the Metro North will only take you as far as New Haven. Get your NY details right, people! Continue reading →

Catching up with the characters of SMASH!

Sorry for the hiatus in Smash reviews, but even during a busy few weeks, I was not ignoring the progress of our favorite new musical: Bombshell!

So, let’s catch up with what our characters have been up to so we’ll be ready for the final 3 episodes.  Continue reading →

This week’s Smash saw Marilyn temporarily shelved after the workshop fell flat. This gives ample time for backstabbing and secrets, which is of course why we’re here. Oh, and dance numbers!

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The pressure was on this week for our Marilyn musical: workshopping in hopes of attracting investors so that the show can go on. Adding to the drama was of course Bernadette Peters playing Mama Rose to Ivy’s Gypsy. So, I guess I was wrong in thinking that Ivy had some sad mountain-folk back story. No, her mother was a famous Broadway star, whose refusal to compliment Ivy (and need for fame) leaves Ivy reeling from lack of confidence. And…I’m falling asleep. Yes, it all makes sense, but it was just too tired of a story line. I almost fast-forwarded through the “touching” moment when Mama Rose tells Ivy it’s only because she cares. Ugh.  Continue reading →

So, it’s official: Smash is a great show. The momentum is up, they are finding stuff for Karen to do besides square-off against Ivy, and it’s getting close to show time! Loves it.

This week in the continued diva-melt-down that is Ivy: she has lost her voice! From stress! This seems both totally accurate to what would really happen (cut to her drinking tea in her housecoat), conveniently contrives another ray of hope for Karen AND drives the Ivy-Derrick relationship further into a tailspin. Ivy’s hilarious “sensitivity” to pills manifests itself as a hallucination of Karen in a bad Marilyn wig (girl does not look good as a blonde.) Rushing to her aid are Tom and the aggressively masculine gay sports fan/dancer (TM). Continue reading →

Marilyn the musical is getting close to rehearsals, and Ivy is beginning to fall apart! I really like how it is clear that she’s doing it to herself: sure, Karen would be happy to take over, but she’s not out to undermine Ivy. Derrick really does just care about the show. So, now’s the chance Ivy’s been waiting for, and she’s letting insecurity get the best of her. (The preview for next week shows her popping pills!) Begin descent into Marilyn’s latter years. Continue reading →

The Steven Spielberg produced epic a-star-is-born redo/ multi-format tie-in promised cash cow mid-season offer-up has finally aired! Remember when it was premiering after the Super Bowl, and then NBC was like–whoa, actually this show is not really that good, so we better air The Voice instead! Yes, I do too. It’s basically Glee for the geriatric set, but who can refuse another musical-driven tv show? Certainly not I. First, a disclaimer: I am not a real Broadway buff. I make no claims to registering anything related to concepts of theater authenticity, and barely get the references to theater critics, etc. I assume those things are thrown in there to appeal to sad struggling actors and the roughly 200 upper west and east side grannies who pay attention to that crap. No, I’m here for the dance numbers, people. So, let’s get down to the business of show, why don’t we? Continue reading →

The Steven Spielberg produced epic a-star-is-born redo/ multi-format tie-in promised cash cow mid-season offer-up has finally aired! Remember when it was premiering after the Super Bowl, and then NBC was like–whoa, actually this show is not really that good, so we better air The Voice instead! Yes, I do too. It’s basically Glee for the geriatric set, but who can refuse another musical-driven tv show? Certainly not I. First, a disclaimer: I am not a real Broadway buff. I make no claims to registering anything related to concepts of theater authenticity, and barely get the references to theater critics, etc. I assume those things are thrown in there to appeal to sad struggling actors and the roughly 200 upper west and east side grannies who pay attention to that crap. No, I’m here for the dance numbers, people. So, let’s get down to the business of show, why don’t we? Continue reading →