- Associated Press - Monday, February 4, 2013

NEW YORK (AP) - On with the show!

“Smash” is back for its second season of sassy, sexy (and musical!) Broadway derring-do, both on stage and behind the scenes.

Last season this series dramatized the blossoming of “Bombshell,” an exciting new musical about Marilyn Monroe, from its initial inspiration through the casting battle for the Marilyn role, with original songs and dance numbers emerging, then on to its preview engagement in Boston.

As the action resumes (with a two-hour “Smash” on Tuesday at 9 p.m. EST on NBC), “Bombshell” is headed for the Great White Way. Or is it? Money, legal and creative problems all threaten to derail its ever reaching Broadway.


Of course, it should come as no surprise to any “Smash” fan (spoiler alert?) that “Bombshell” will indeed have its premiere. This was confirmed by a reporter during a December set visit to the filming of the opening night party for an upcoming episode.

It’s a posh affair, shot in the lobby of a magnificent former vaudeville theater in Manhattan’s Washington Heights. Dozens of partiers are dressed to the nines, ginger-ale-as-champagne is flowing, and performing for the guests is the Bombshell Girls Band _ a six-piece female ensemble, two of whose pieces are men in drag as a clever nod to the classic Jack Lemmon-Tony Curtis comedy “Some Like It Hot.”

The scene includes a brief rapprochement between the two at-odds actresses who vied to be Marilyn _ Karen Cartwright (played by Katharine McPhee) and Ivy Lynn (played by Megan Hilty). They join forces for a full-out rendition of the pop standard “That’s Life,” and, for its flashy duration, all is forgotten and all is well. That’s what music can evoke in a joyous musical show, which this season “Smash” demonstrates as lavishly, rambunctiously (and musically!) as before.

Or maybe even more so, thanks to some judicious tweaking to the series since last season.

There’s now a heightened focus on the Broadway world and a sharp cutback of “civilian” elements, such as the family life of “Bombshell” lyricist Julia (played by Debra Messing).

“This isn’t domestic drama,” says Joshua Safran, the new “Smash” showrunner who’s ushered in the changes. “It was really important to me to not have a lot of outside story, to keep everything revolving around the musicals and the world of musicals, so that even if the characters have personal issues, it’s all about how those personal issues are impacting their work.”

This is a refinement endorsed by Christian Borle, who plays Julia’s song-writing partner Tom (and who has real-life Broadway cred: He won a Tony Award last spring for his performance in the comedy “Peter and the Starcatcher”).

“As somebody who has devoted a lot of time to the theater, I think it’s fair to say that your personal life becomes absorbed into that world,” Borle says. “So when you tell the dramatic story of the theater, you don’t have to go far: it’s ALL personal.”

Besides, the scope of “Smash” will extend beyond the single Broadway-bound show “Bombshell.”

“It will be about an entire group of theaters with shows and different actors and different composers and directors,” says Safran, “but in a tight-knit community that allows us to have stories that touch upon one another.”

Last season, “Smash” had a teeth-grinding effect on some viewers who found it cliched, preposterous or, worst of all, one-note. And, now, even after its rejiggering, it may still invite their snark. But other members of the audience will surely find it glorious.

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