SMASH is out for blood - wolf’s blood, that is. So, go howl! In the climax of the series so far - at least since that thrilling finale to the pilot episode - the wildly talented cast of characters that inhabit SMASH were joined in purpose and performance for the first time onscreen all together, singing “I Never Met A Wolf That Didn‘t Like To Howl” - well, at least the current top choices for Marilyn Monroe (Megan Hilty), Joe DiMaggio (Will Chase) and the songwriting duo (portrayed by Debra Messing and Christian Borle) behind the show-within-the-show; guest appearance by prospective investor portrayed by pop idol and current Broadway star Nick Jonas notwithstanding. Yet, Katharine McPhee shone bright in her secondary storyline, bringing defiant joie de vivre to a karaoke cover of Adele’s soulful earworm “Rumor Has It” at the close of the show. Nick Jonas got a moment in the musical spotlight, as well, in a well-sung, self-played piano-accompanied cover of Michael Buble‘s “Haven’t Met You Yet”. On the dramatic side of SMASH, the twists and turns of the theatre-centric musical series are beginning to create intriguing complexities for the individuals caught in the tumult - none the least being the budding romances between Derek (Jack Davenport) and Ivy Lynn (Hilty), and, also, the secret liaison rekindled between one half of the songwriting duo (Messing) and Joltin’ Joe (Chase) himself. Plus, the other half of the team behind the Marilyn musical, Tom (Borle), finally got his own romantic plotline and sudsy, soap-ish moment. It seems to be a prerequisite that each cast member have a post-coital scene at some point, so, one supposes Eileen (Anjelica Huston) and her ex husband, Jerry (Michael Cristofer), may re-team behind the scenes sooner or later if her story follows suit - or, maybe not. Eileen was given the finest material of the night as far as I’m concerned and Huston’s delicate portrayal of a woman conflicted was artful in its attentiveness and believability. She imbues the material with a grace and gravitas that few stars can consistently achieve, as she has done throughout her career and continues to do so here on SMASH. Episode Four cleanly and clearly displayed the attributes we have come to love about the pilot - natural integration of fabulous Marilyn-themed musical numbers into the drama, as in “Howl”; superlative new renditions of modern-day pop hits, such as “Rumor Has It”; and a specialty song or two, too, like Nick Jonas and his Michael Buble party accompaniment, with a preview of what is to come in the rehearsal sequences ("History Is Made At Night"). While this episode did not break new ground as far as where the show is heading as a series like last week’s show certainly did or could have, this episode gave us an inkling of the entertainment experience coming in the next few weeks as we anticipate the arrival of many new and exciting guest stars, such as Bernadette Peters and Uma Thurman, in addition to the pain, passion, ecstasy and everything else we seek in the series. As for the rest of the drama, music and comedy - read on!
Howl & Growl
Each episode of SMASH so far has shown us a side of the writing, rehearsal and workshop process as it exists on Broadway and beyond - more or less. Of course, SMASH is a nighttime soap opera as much as it is a dramatic depiction of life in the New York theatre world, so the accuracy of the actual show in rehearsal and performance may vary insofar as how the system truly works (examples include workshop performers earning about seven times the number bandied about last episode, $200, as well as Equity rules about auditioners like Karen in the opening episode of the series). That is to say nothing of the incestuous sexual couplings of creators, directors and stars that provide an added prurient and salacious element to the proceedings. Without some dramatic license there is no drama, after all, so we should keep that in mind as we proceed. If you desire documentary-like depiction of the actual nuts and bolts of how Broadway really works, keep dreaming for that arrive on network TV. Roses will come out of your ears before you see that. Some indie documentaries have come close to relating some of the excitement and overall environment of the theatre community at any given time in any given specific example, though - SHOWBUSINESS: THE ROAD TO BROADWAY, EVERY LITTLE STEP, BROADWAY: THE GOLDEN AGE and ORIGINAL CAST ALBUM: COMPANY being the prime examples, at least for me. SMASH has as much to do with actual theatrical writing and production as GLEE has to do with actual high school, pretty much. That comparison may not be fair, but, all in all, it seems to be the ideal comparison. And, thank goodness it is that way! Without the soap elements, SMASH could be impenetrable for a large amount of the viewing public who have no conception or real interest in the actual day-to-day workings of Broadway as it is now, yet too much emphasis on those features can sink the ship fast and quick. After all, it’s far more corporate on New York stages than the days of David Merrick and Alexander Cohen or, for that matter, an idealized "Iowa hick" - to quote the episode itself - envisioning of how a show gets on the Great White Way.
Yet, the musical numbers are what most of us Broadway babies out in the audience are watching out for - and most of those watching the show, one suspects, too - and last night gave us a growl and howl-worthy Marc Shaiman/Scott Wittman gem to go alongside the absolutely sensational song-stack for the show-within-the-show so far - the pilot’s “The National Pastime” and “Let Me Be Your Star”; “The Twentieth Century Fox Mambo”; and, “Mr. & Mrs. Smith” from last week; plus, the various bits and bobs of demos, rehearsals and writing room brainstorms we have tantalizingly glimpsed thus far (like last night's seemingly divine Marilyn/Joe duet "History Is Made At Night"). Indeed, one of the most alluring aspects of SMASH is that we, as the audience, are allowed to tag along on the journey to experience and witness the development of what, at the moment, is a very rough sketch of a musical as it blossoms and blooms and actually becomes more and more concrete and conceivable as a stage musical. Broadway shows come together any number of assorted ways, anyway, so the process by which Tom, Julia, Derek, Eileen and company are arriving at the final product that will finally be presented onstage is as unique as it is normal in the theatre-world, believe it or not. Every show is different and has to be addressed as such and the creative process is totally dependant upon the subject. In this respect, SMASH is spot-on. So the case goes with SMASH as a TV series, too. Episode Four certainly made it much easier to see where the show is going and what we can hope to anticipate week to week for the rest of this first season, while last week perhaps provided us with a peek at where the show can possibly go in the future should audience interest and buzz-worthy moments continue to be delivered and it is renewed for another season (and, therefore, one could safely postulate, a completely new show-within-the-show to go along with it).
SMASH has grinned and bared its teeth and it is sharply pointed and marked to kill its competition on command if the audience tunes in and embraces it as they did for the first two weeks, so let us hope that each episode keeps delivering what we want most and hunger for most voraciously and offers up less of the drab domesticity and weaker plot threads that drag it down from time to time and disappoint even the most loyal viewer. More “I Never Met A Wolf That Didn’t Love To Howl” and “Rumor Has it” and less DYNASTY and DALLAS, please - Episode Four being a good example of SMASH doing what it does best and the course it should set out to continue on from here on out. Yes, with Episode 4 as evidence, SMASH gives us many more reasons to get ready for a Broadway feast fit for a big old beast every Monday night, with at least a musical moment or two to dig your teeth into and gnaw on for a while. Howl and growl - and gobble it up.
