Broadway’s latest meta-theatrical venture has finally arrived—and it’s quite the head-spinner. After languishing in development hell for 13 years, “Smash” has transformed from small-screen cult favorite into a full-blown stage production that’s equal parts tribute and reinvention.
The show’s opening at the Imperial Theatre marks a curious milestone in Broadway history. Here’s a television series about making a Broadway show that’s become… well, a Broadway show about making a Broadway show. (If that sounds confusing, don’t worry—it sort of is.)
Under Susan Stroman’s direction (she’s got five Tony Awards, in case anyone’s counting), this 2025 adaptation strips away the TV show’s soapier elements. Gone are the romantic subplots and backstage drama that characterized the NBC series. What remains is laser-focused on the creation of “Bombshell”—a musical chronicling Marilyn Monroe’s tumultuous life and career.
Tony nominee Robyn Hurder steps into the spotlight as Ivy, delivering a performance that’s simultaneously mesmerizing and unsettling. Her Method-driven descent into Monroe’s psyche becomes the production’s gravitational center, though whether that’s a good thing depends entirely on whom you ask.
The creative team—Marc Shaiman and Scott Wittman handling music, Bob Martin and Rick Elice tackling the book—walks a precarious tightrope between nostalgia and innovation. Sure, beloved songs from the TV series make appearances, but they’re woven through with fresh material that’s sparked heated debates among theater critics. Robert Hofler of The Wrap wasn’t exactly subtle when questioning whether a show could survive “stopping” quite so many times before, y’know, actually stopping.
Perhaps the production’s most controversial aspect is its surprisingly cynical take on Monroe herself. Rather than the usual tragic-goddess treatment, we’re presented with what Deadline’s Greg Evans describes as “an inconsiderate, amphetamine guzzling faux-intellectual.” It’s a bold choice that’s left audiences either applauding the fresh perspective or clutching their pearls in horror.
Thank heavens for Brooks Ashmanskas, whose portrayal of the perpetually frazzled director Nigel provides much-needed comic relief. His deadpan delivery of lines like “If I ever see you giving books to an actor again, I will replace you. With an app” lands perfectly in today’s AI-obsessed theater landscape.
The technical elements shine—Beowulf Boritt’s scenic design and Ken Billington’s lighting create a world that’s simultaneously realistic and theatrical. The stellar ensemble, including standouts Krysta Rodriguez, John Behlmann, and the incomparable Kristine Nielsen, keeps the energy crackling through the show’s two-and-a-half-hour runtime.
Yet there’s something oddly appropriate about the mixed reactions this show’s receiving. Time Out New York’s Adam Feldman hits the nail on the head: the production seems to embrace its own messiness, wearing its imperfections like a badge of honor. For die-hard fans of the original series, this meta-awareness might just be the perfect tribute.
Look, “Smash” isn’t perfect—but maybe that’s exactly the point. In an era where Broadway increasingly relies on jukebox musicals and movie adaptations, here’s a show that dares to examine the messy, complicated, often absurd process of creating theater itself. It’s neither triumph nor trainwreck, but something far more interesting: a mirror reflecting both the dazzling allure and chaotic reality of show business.
And really, what could be more Broadway than that?
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