Cleverly reinvented, Smash the musical takes the scenario of Smash the television series in its own direction, crafting a welcome new entry to the ever-popular canon of backstage musicals. 

Forget duelling rivals Ivy Lynn and Karen Cartwright; Ivy is now a well established star and Karen her frequent understudy. Derek, womanising director of Marilyn Monroe musical Bombshell, is gone, replaced by flamboyant gay man Nigel. The musical’s composers are now husband and wife team, Jerry and Tracy. 

Given the connection of fans to the divisive 2012-13 series, the new direction for the characters is a bold move but one that pays off handsomely. Seasoned book writers Bob Martin* and Rick Elice pepper proceedings with witty wordplay and cheeky in-jokes. The Bombshell songs by Mark Shaiman and Scott Wittman remain, looking and sounding fabulous on the Broadway stage. 

One new thread to the story revolves around composer Tracy giving leading lady Ivy a book on Method Acting. Ivy has soon engaged insidious acting coach Susan Proctor, leading to Ivy basically becoming Marilyn, undermining herself and turning everyone offside. 

While Karen is, of course, a key candidate to replace the derailed Ivy, another contender is associate director Chloe, an actress who has moved into direction after being told her body shape is not suitable for acting. The musical successfully makes salient points about body image and pigeon-holing performers, with Chloe soon taking flight in the role and earning huge online support. 

Director Susan Stroman brings her expert skills at comic invention, delivering a raft of delightful characters that are a pleasure to spend time with. Television series choreographer Joshua Bergasse returns to mount his numbers for the stage to terrific effect. Close collaboration between all the creative team sees the rehearsal numbers definitely woven into the book scenes, resulting in a highly entertaining musical that is always in motion.

If there is one criticism of the writing, it is that the only songs in Smash are the ones in Bombshell; the characters who are creating the show are never given the opportunity to sing their feelings. The upside is that the Bombshell songs are still cleverly crafted so as to reflect upon the behind-the-scenes action.

The music sounds wonderful, boasting music supervision by Broadway veteran Stephen Oremus. Music director Paul Staroba conducts a generous orchestra of 18 musicians, a sample of whom have fun on stage, led by Staroba, for the Bombshell sitzprobe. 

Scenic designer Beowulf Boritt delivers glossy sets that smoothly transition with cinematic flair. A key scene is the recognisable interior of Broadway institution Sardi’s, with Ivy’s portrait hanging on the wall alongside Lin, Sutton, Audra, et al.

Costume designer Alejo Vietti brings similar levels of theatricality, having fun, in particular, with Ivy’s escalating transition into a present day Marilyn. The hooded black robes of acting coach Susan Proctor are also a highly characterful touch.

Starring as Ivy, Robyn Hurder is somewhat hamstrung by Ivy’s unlikeability, and she also disappears for a significant amount of time while the focus is on replacing her. Nonetheless, when Hurder hits her strides as Ivy playing Marilyn she is highly impressive in all regards.

Brooks Ashmanskas uses his trademark schtick to terrific effect as increasingly frazzled director Nigel. Kristine Nielsen is a fiendishly funny scene-stealer as the wickedly self-serving Susan Proctor. 

Television series regular Krysta Rodriguez returns, this time to play adventurous composer Tracy. John Behlmann gives strong support as spiralling co-composer Jerry.

Caroline Bowman shines in the somewhat thankless role of perennial cupcake-baking understudy Karen. Bella Coppola brings dignity and soaring vocals in the breakout role of associate director Chloe, who saves the day as a Marilyn replacement. 

A must-see for musical theatre aficionados who have their own experience in and around the stage, as they will gleefully appreciate the setting of Smash. Given the reinvention, audience members who either missed Smash or have little memory of the series are at no disadvantage to thoroughly enjoy the stage version.

Smash was reviewed 2pm Saturday 10 May 2025 at Imperial Theatre, New York, For tickets, click here.

*Drawing attention once more to Bob Martin’s role in creating the persona of “Man in Chair,” the inspiration for the name of this site.

Photos: Paul Kolnick