Smash is finally "On Broadway"

Article first published as SMASH Season 2 Premiere Review at Seat42F

Grade: 91%

NBC’s SMASH returns tonight with two new hours. Having viewed the first half of the sophomore premiere, I can report that some positive changes have been made that should improve the series, but fans will be satisfied that it mostly remains the same show it was in the freshman run.

As “On Broadway” begins, the previews in Boston are over, and cast and crew return to New York City. The first task is for Eileen (Anjelica Huston) to book a theater, and she already has one in mind – the legendary St. James. However, just when things look to be a go, her financial actions come back to bite her in the butt.

It’s not surprising, really. After all, nothing can come easy in a television series like this for the show within a show. If it did, SMASH would lack drama and driving force. Our heroes have to overcome obstacles. That’s what shapes them into the strong, triumphant figures that we love to root for.

Eileen is taken to a bad place here. She basically crosses the line to save the show, and not just for herself. She believes in Bombshell, and doesn’t want to disappoint all the people who work so hard on it. But because it’s her fault that this happens, you have to feel bad for her, and realize how hard it must be for her to admit to everyone that she has let them down.

The most likely path for Eileen to turn down next is to go to her sleazy ex, Jerry (Michael Cristofer), for help. He still lurks on the fringes, and has probably exacerbated Eileen’s problems for his own benefit. But if he can save the show, I guess it will be good that Eileen might rely on him again, and it could even give her yet another challenge to overcome.

Of course, even once Eileen get the business end of things worked out, Bombshell won’t be out of the woods. As the reviews have revealed, the music is great, but the book sucks. This falls squarely on the shoulders of Julia (Debra Messing), who is distracted by personal worries, as well, especially after a development involving Frank (Brian d’Arcy James, now a recurring player) happens in “On Broadway.” She has her work cut out for her.

How much is Julia supposed to take? Yes, she screws up majorly, but her situation is even more dire than Eileen’s. Both of the are examples of strong, successful, driven women who are having trouble catching a break right now. I’m sure they’ll get through it, but it’s hard to watch them in pain.

Rounding out the trio of suffering females is Ivy (Megan Hilty). Now that Karen (Katharine McPhee) is firmly the star, and Ivy has not made up with her, it seems like Ivy will likely be out of Bombshell. Not permanently, I would imagine, given how much Hilty brings to the role, and how essential Ivy seems to the show. But for now, the odds are against her.

Why does SMASH choose to focus on these girls, and give them so much bad to deal with? It makes for good television, but it’s also depressing. Those writing SMASH off as a light, frothy musical are dead wrong.

Others in the cast don’t have it so bad. Tom (Christian Borle) is happy with Sam (Leslie Odom Jr.), and even though their relationship has a trial ahead, they seem to be in a good place, and so they can overcome. Karen is being hailed as a new star, and might even have a new love interest in her life in the form of wanna-be Broadway composer Jimmy (Jeremy Jordan). Derek (Jack Davenport) may be the captain of a floundering ship, but his reputation remains intact, and he’ll bounce back, just like Bombshell.

A new element SMASH introduces in “On Broadway” is Tony-award winning actress Veronica Moore (Jennifer Hudson, Dreamgirls). It’s not clear what part she might play in the larger story, and she isn’t brought in with any connection to Bombshell. But Veronica makes quite an impression in her first episode, and it sounds like the producers have plans for her, so it’ll be interesting to see how she is drawn into the inner circle.

If you watch SMASH mainly for the musical numbers, “On Broadway” has you covered. From Karen’s big opening, to Veronica’s introduction, to a duet between the two, an enticing solo by a new male cast member, and Ivy’s lament, there are plenty of tasty treats. The numbers themselves may not be super memorable, but they will wash over you in a very nice way while they are being performed.

I’m glad to see stick-in-the-muds like Julia’s family and Dev reduced or dropped from the cast, and even bitchy Elias is gone. The newbies, like Hudson’s character and Karen’s love interest, are very talented. The new direction for SMASH seems to be that conflict will come from within, rather than without, and there will be better showcases for the positives. I dig it, and while “On Broadway” stays true enough to the characters to feel like the SMASH I fell for last season, the tweaks they’ve made work, and I’m anxious to see more.

SMASH returns Tuesday, February 5th at 9 p.m. ET.

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Smash does not deserve the haters

NBC's Smash faces "The Coup" this week, as Derek (Jack Davenport) has a musical number developed without the input or knowledge of Tom (Christian Borle) and Julia (Debra Messing). He isn't the only one facing loyalty issues, though. Ellis (Jaime Cepero) is only too happy to jump Tom's ship and go work for Eileen (Anjelica Huston). Also, Eileen's daughter, Katie (Grace Gummer, yes, Meryl Streep's daughter), comes to visit, and scolds her father, Jerry (Michael Cristofer), for how he is treating Eileen. Not to mention, Ivy (Megan Hilty) is totally jilted when she learns that Derek's new number stars Karen Cartwright (Katharine McPhee) as Marilyn. 

Smash has been getting a lot of flack lately from critics. They complain that the drama feels forced and the musical numbers aren't good enough. This seems odd, given the quality of the show. Glee still gets praise, and it is far campier, with less consistent characters. Perhaps that's the problem. Trained by two years of Glee to expect fluff, Smash presents more realistic situations, fewer spontaneous songs (though there are some), and lots of original music that has to be good. It is.

And if one still isn't happy, take heart there will be a new show runner when the recently renewed Smash returns for season two next year.

That doesn't mean Smash is without any problems. For instance, the kid playing Leo (Emory Cohen) is just not up to the task. Perhaps that is why the writers have Julia overact in the courtroom in "The Coup." Playing opposite of Cohen, Messing tends to run circles around him, so they lower her to his level. Or she is just an upset, concerned parent, and that could excuse a bit of an emotional outburst, too.

The Ivy vs. Karen plot has been pivotal to Smash up to this point, but it now appears to be over. Karen shoots herself in the foot with Tom and Julia by being sneaky with Derek, and Ivy is out because Eileen feels a star is needed if Marilyn's production is going to continue.

Eileen is probably right. As talented as Ivy (and Karen, for that matter) is, she isn't the audience bait that a famous person would be. One might think that Marilyn Monroe is the draw, and there's something to be said for the bold step of choosing a newcomer to capture Marilyn's early persona. That might still happen. But for selling the show to investors, having a big name attached will go a long way to making things easier, and ease is a desirable concept, with all of the other problems being faced. Along those line, Uma Thurman will soon be joining the cast.

The only thing really not working in "The Coup" is Ellis. He is a shifty, despicable character, but that it not the problem. Every show needs a villain, and Ellis fills that role nicely on Smash. What is hard to believe is that Eileen is not hip to his antics. Maybe Ellis lied and told her that Tom was cool with the job switch. But without seeing that, it feels wrong for Eileen to poach him. The characters are wise enough that they should be noticing his too-obvious behavior, and he should be cut out completely. Also, Cepero has absolutely no chemistry with the woman playing Ellis's girlfriend.

Overall, the story in "The Coup" feels authentic. Derek's background with Tom, the details of which slip out this week, explains their animosity. Derek's lack of people skills justify the mistake of going behind Tom and Julia's backs. His idea isn't horrible, he just presents it the wrong way. Gossip does spread like wildfire. Ivy's friends would cheer her up with song and dance, though a few annoyed looks from other bowlers should have been included, and a slip on the slick lane would have been nice.

But a show bound for Broadway never has an easy road. These are things that need to be shown for Smash to work, and hopefully the angry voices will quiet time in time. Watch Smash Mondays at 10 p.m. ET on NBC.

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Smash should be able to prove its name

NBC's Smash premieres today, though many have already had the opportunity to view it, as it has been posted online for some time. If you are coming across this review before watching the "Pilot" and do not want anything spoiled, please check back after watching the first episode.

In the NBC Smash "Pilot," Julia Houston (Debra Messing, Will & Grace, The Starter Wife) is taking a break from Broadway to adopt a baby. That is, until her writing partner's, Tom Levitt (Christian Borle), new assistant Ellis (Jaime Cepero) suggests that the two do a show about Marilyn Monroe. Caught up in the idea, Julia and Tom can't resist writing a number, much to the chagrin of Julia's husband, Frank (Brian d'Arcy James). But it's soon out of everyone's hands when Ellis posts that early recording session online, and it goes viral, putting the gears in motion for a full production.

Eileen Rand (Anjelica Huston, Medium, The Royal Tenebaums) is first on board, looking for something to produce while her other project is tied up because of her nasty divorce from husband Jerry (Michael Cristofer, Rubicon). Eileen would like to hire Derek Wills (Jack Davenport, FlashForward, Pirates of the Carribean) to direct, but Tom hates him. Unfortunately for Tom, Derek puts together a fantastic rendition of a musical number from the show-in-progress, and Julia comes 'round. Which means, it seems, that Derek is in, too.

Now, the next challenge is to pick the girl who will be Marilyn. Tom argues for Ivy Lynn (Megan Hilty, Bitter Feast), a chorus singer whom he thinks has lots of talent, and looks perfect for the part. Ivy gets a leg up by recording the viral demo, and assumes that the part is hers. However, the others, especially Derek, are also entranced by fresh faced Karen Cartwright (Katharine McPhee, American Idol). Which will win out in the end? The question is left hanging as the "Pilot" culminates in the girls' call back audition.

And, there are, of course, love stories. Will Julia and Frank work out their issues? Their marriage seems to have a solid foundation, despite this rocky time. Eileen and Jerry are definitely over. Karen gets supports from her beau, Dev (Raza Jaffrey, Mistresses, MI-5), who believes in her dream. But then, Derek seems like he'd be willing to cross the line with Karen. Will she reciprocate if her career is on the line? Instinct says no, but then again, one never knows how situation might change circumstance...

Any comparison of Smash to Glee is premature and pretty much dead wrong. While both involve singing, Smash has a much more serious tone, and isn't about high school. Additionally, while popular music will be used in the series, every episode isn't packed full of it, with the musical numbers spread out more, and only when the characters need to sing for the plot, at least in "Pilot." Original music will be written for Smash (some is already in the first episode) as the characters work on the Marilyn musical. Unlike Glee, this means that some songs may be repeated many times throughout the show's run. The basic difference can be boiled down to one thing: Glee is a musical, while Smash is about a musical.

Is Marilyn Monroe tired subject matter? Julia suggests that this might be the case, as she mentions recent books and movies. Yet, Smash takes the icon in a different direction. It's immediately obvious from the "Pilot" that this show will not be like anything else in production. It's why Julia and Tom agree to pursue it, and the new take should keep audiences from growing bored. And Monroe is an icon for a reason, so there's plenty of substance to build upon.

The acting and singing in Smash is phenomenal. Right out of the gate, Hilty and McPhee carve out their place in the series. Which other characters may sing remains fuzzy, but these two will be the powerhouse voices that carry the show. And they are up to the challenge. What's more, they're good enough in the acting department that they don't appear out of their depth alongside veterans like Messing, Davenport, and Huston. Yes, their characters don't seem as experienced, but that's the point, and the girls are good at making that feel authentic.

The staging is great. There is definitely a feel for the world of Broadway, at least, it appears so to an outsider who is not rooted in that culture. The characters and settings are very natural in this environment. Thus far, the musical numbers are presented in a bare bones style, but as Julia, Tom, and the others are just beginning to work on the show, this is appropriate. Hopefully the stage sets will grow with the rest of the series. All in all, "Pilot" is a very well orchestrated production.

There will be haters of course; those who don't care for musical theater, or appreciate it on television. But Smash should have a broad appeal as a story, as well as a music-related piece. Time will tell if it works out, but the first episode has plenty of signs to promote optimism.

Watch Smash Mondays at 10 p.m. on NBC.

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Article first published as TV Review: Smash - "Pilot" on Blogcritics.