Since NBC's musical drama series SMASH is kicking into high gear as the Marilyn Monroe musical that forms the core of the show's story approaches its first workshop presentation on Monday night's episode - with the highly awaited appearance of Broadway legend Bernadette Peters coming next week, as well; playing the mother of the Marilyn musical star, Ivy Lynn (Megan Hilty) - now is the ideal opportunity to, well, "Fade in on a girl / With a hunger for fame / And a face and a name to remember," to quote Marc Shaiman and Scott Wittman's crown jewel in a diadem of a songstack for the show-within-the-show, BOMBSHELL. The show-within-the-show is better that most scores on Broadway these days and that is a credit to the Tony-winning tunesmiths and their ability to make musical theatre that is polished and professional, yet totally fun, bawdy and accessible, as well. Look no further than this week's "History Is Made At Night" or last week's "Let's Be Bad" - to say nothing of the pilot's twofer of titanic theatrical prowess in the form of "The National Pastime" and the afore-quoted "Let Me Be Your Star". Plus, we have to remember, SMASH has not one Marilyn, but two, so the future possibilities of who will be singing these songs and how they will be presented is totally unknown. As we shall see in the clips below, "Let Me Be Your Star" will now have its third iteration on the show, acting as the opening number in the workshop presentation as Ivy Lynn belts it to the rafters, ballad-style - not unlike the Karen/Ivy stage sequence presented in Episode 2 as a dream. Using just the example of "Star", we can see how rich and rewarding it is to further explore the depths of drama and heights of wit amply apparent in the sometimes caustic, sometimes campy and always enjoyably, embraceable unique work of Shaiman & Wittman on their songs for SMASH. The story setting them up, drama surrounding and contained within them - with the meta-narrative of the behind-the-scenes going on we are privy to acting as another layer - makes the production numbers the most brightly glittering stars of the SMASH universe. Katharine McPhee's "Somewhere Over The Rainbow", "Call Me" and "Rumor Has It", as well as Hilty's "Crazy Dreams", were all viable and entertaining covers in their own right, yet the original songs are what make SMASH really sing - and zing, sting and ring-a-ding-ding.
Also, don't miss my preview of the forthcoming InDepth InterViews with SMASH stars Megan Hilty and Anjelica Huston available here. BombshellSo, let's take a look back at the utmost musical highlights on SMASH to date as we quickly approach the mid-point of Season One of the musical series.For the first inning, let's start off by taking a look ahead to next week's sure-to-be spectacular show (at least based on the generous glimpses of the episode below!), first, with a thrilling clip featuring Bernadette Peters taking on a powerhouse Jule Styne/Stephen Sondheim song as only she can - GYPSY's unforgettable Act One closer, "Everything's Coming Up Roses". Also, here is our first glimpse of the diva battle between star-on-the-rise Ivy and her past-her-prime mother, Leigh.Ramping up the tension even more - as if it were not heady enough - see Leigh make a grand entrance at the workshop, as Derek (Jack Davenport) introduces the Marilyn musical and we get our first glimpse of how BOMBSHELL on Broadway may actually begin as Ivy belts out "Let Me Be Your Star". This clip is an illustration of how March Shaiman and Scott Wittman have crafted the musical numbers to act as commentary on the characters on both SMASH and the show-within-the-show itself.While the bread and butter on SMASH for Broadway babies is undoubtedly the big BOMBSHELL production numbers and rehearsal sequences, SMASH has had its fair share of impressive cover songs that have been weaved into the tapestry of the drama, as well - most notably, the clips below.
First, here we have Karen (McPhee) taking on Blondie's "Call Me", composed by Oscar-winning composer Giorgio Moroder in slinky and come hither style. Next, Karen dons a white man's shirt and little else for a "Mein Herr"-esque "It's A Man's Man's Man's World". Sizzling! Third, here is Karen's spunky and spicy take on Adele's "Rumor Has It". Closing out the Karen section with her most memorable moment to date, here is her first audition set to the strains of Linda Perry's international pop smash made famous by Christina Aguilera, "Beautiful". A star is born - but, will she wind up as Marilyn?Videos