Smash's Musical will Come to Life on the Stage

No, it's not Bombshell. As you can tell from the picture above, it's Hit List. And it's not getting a real stage production, it will only be a concert performance in December at 54 Below in New York. However, maybe if Hit List is a "hit," producers will look at Bombshell and think about trying to stage it. I would be interested in seeing either show and seeing if they would really work as stage productions. Most of the songs are good for both shows, and the most of the production numbers they created for Smash episodes were good, but who knows if they'd work as an entire show with actual dialogue. Or in the case of Hit List, which was supposed to be sung-through, if the songs really can tell the whole story.

Three actors from Smash, Jeremy Jordan (Jimmy), Krysta Rodriguez (Ana), and Andy Mientus (Kyle), will be included in the cast. We'll see if Katherine McPhee (Karen) will show up too, or if she really is distancing herself from anything to do with Smash.

The performances will include additional songs that never made it on the canceled show. I hope the new songs will be made available for purchase, because I'd like to hear them.

I was sad when Smash was canceled, because I think it had so much potential, but I'm glad that the TV series might have a legacy in live theatre.

If you're interested in reading a summary of plot for Hit List, click here.

Smash: The Tony's

I guess I really have to accept it now. This was the last episode of Smash. The show is over. The curtain has come down on a show that I was so excited about when I first heard about it. A show that had some great moments, some great music, some great singing, some great acting, and some great musical numbers. A show that was about my passion: theatre. A show that had some bumps and misses along the way, but one that I am sorry will never have a chance to meet its potential and be really great.

So, here it is... my final recap. Although, it may not be my final post on Smash, because I may find I have more to say, who knows.

Observations:

"Under Pressure" is an example of what I love about Smash. It's a great number, bringing together all of our main characters. We get to hear Julia Messing and Angelica Huston sing again. And we finally get to hear Jack Davenport sing - not much, and not enough.

Listen to Christian Borle's falsetto!

Jeremy Jordan, that's what I call holding a note.

It's a Rent moment. Too bad Daphne Ruben-Vega and Jessie Martin couldn't join in the number.

Julia and Tom wrote a musical number for the Tony's on the day of Tony's? It's so funny to me that they would wait until the day of the Tony's to finish a number for the award show. The performers still have to learn it and rehearse before the show. Isn't that cutting it a bit close - since those performers probably have to get ready for the Tony's too, and we know how long it takes for women to get ready for a big shindig like that. It's just like Smash to throw realism right out the window.

How would writing letter to your husband (who's divorcing you) with a detailed account of your affair soften his anger toward you?

It's great to see footage of Bernadette Peters' acceptance speech for the Tony she won for Annie Get Your Gun, so Leigh can give pointers to Ivy of how to accept a Tony award.

Jerry really thought that the best number to do for the Tony's was "I'm Not Sorry"? Really? There are much better songs than that. But then, I guess if Jimmy didn't want to perform, there really aren't many other songs that his character doesn't sing.

I can't believe that Daisy thinks that Derek's confession on how she got the part will help her career. It makes her look like a ambitious, do-anything-to-make-it slut. She's really letting all of this publicity go to her head - and she's becoming a real "diva."

I'm surprised that Ivy and Karen are being civil to each other. The last time they spoke, Ivy was angry at Karen for telling Ana that she slept with Derek. I wonder what happened between then and now.

Why is Jerry being such a jerk and siding with Daisy? Is there something between them? Hmm? I guess we'll never know.

It's nice not to see Jimmy the jerk at all this episode. It's about time. And it's too late.

I really hate the way Julia and Frank's story line went through the two season of Smash. It would have been so nice to have an example of a happily married couple in the theater instead of a story of infidelity. It's that whole thing about the writers feeling the need to make the show a soap opera instead of telling honest stories about backstage life in the theater. Yes, there is infidelity and divorce in the lives of some people who are involved in the theater, just like there is everywhere else, but there are also happily married people. That can make good stories too. I also don't like that it diminished Brian D'Arcy James's character, and made the writers feel that they didn't need him in the second season.

It seems to me that most people who are invited to the Tony's (especially the nominees) bring a "plus one." That means they would be given two tickets, wouldn't they? Why wouldn't Karen and Jimmy get two tickets? And would they give a ticket to someone who is nominated but is dead? Why would Kyle get a ticket?

I love that they show Leigh and Ivy as their names are announced as nominees just as they would if they were on the real Tony telecast. Their smiles into the camera are so great. So, actor-like, if you know what I mean. Trying to look humble, but deep down thinking - "I hope I win, I hope I win, I hope I win."

Just rub lemon juice into the wound, why don't ya. Daisy wins? Whaaaaat?

Of course Kyle won for best book. No surprise there at all.

So, Jimmy's acceptance speech on behalf of Kyle turns into a speech about Karen. I guess that that might have been sweet if they hadn't always made everything about Karen. It just made it annoying that it wasn't all about Kyle. Other than that - his speech was really sweet. I wish we would have seen more of that Jimmy throughout the season - I would have liked him better, and sooner.

It's so funny that Julia and Tom were talking when the winner is announced for best score, and they miss hearing their own names. If everyone's speeches at the Tony awards were like Tom and Julia's, the Tony awards would be much shorter. And they could do more musical numbers. *wink*

Derek wins best choreography for... wait for it... Hit List. Well, at least it wasn't tie between Derek Wills and Derek Wills. *wink*

It's sweet that Derek dedicated his Tony to Ivy, "someone [he loves] very much."

Why did Derek ask Ivy where Daisy is? Strange question to ask Ivy.

Derek fires Daisy right before she's ready to do the musical number for Hit List. And he has the rest of the cast of Hit List go on, impromptu on live television. Good for you, Derek, for doing the right thing and firing her. And good thing that the cast just happened to have an acapella version of "Broadway, Here I Come" ready to perform. A version, which, by the way, I absolutely love. Oh, I'm going to miss you Smash! Sorry, I'm still going through my grieving process.

And there was the setup for the third season, if it hadn't been canceled. Tom and Julia would go to Hollywood and write a movie musical. So, here's where I'm not so sad it was canceled. I don't think I would have liked them going to Hollywood. The joy of Smash to me was it was about the theater, a world that I love. I do love movies. And I love a lot of movie musicals. But I'm not sure if I would have liked the show "going Hollywood."

Tom and Julia are back together as I team. Good for them.

I loved Tom's look at Julia after Patrick leaves. It was hilarious. Awkward. Again, if the show had more comedy like that, it would have been so much better. Life in theater isn't all drama. There is comedy - funny moments that would have been so great for Smash to capture.

I loved seeing all of the cameos of Broadway performers.

And the Tony award for best performance by an actress in leading role in a musical goes to...

Commericial. You don't think they wouldn't milk this one for all its worth would you? *wink*

Ivy Lynn! Yes, Ivy won the Tony award. Not Karen. Okay, writers, I forgive you for the all of the praise you heaped upon Karen. I am happy.

I love, love, love Ivy's acceptance speech. She said what so many of us who love the theatre believe.*

And the Tony award for best musical goes to...

Well, you can guess by the above picture. I'm glad it won. This is the show we've come to love since season 1. And it was great to see Jerry's face as Eileen walked down the aisle to the stage to accept her Tony award. I'm glad that Eileen called for Derek to come up. It's just too bad that we didn't get to see any of the other cast members. I wanted to see Bobby and Jessica up there.

And now we have to wrap things up a bit.

We finally find out Jimmy's secret past. I wish that we had known the details or even just some of the details, even if Karen didn't know. I think we would have liked him much more. I think the end would have been more emotional also if we knew that he turned himself in before the Tony's. Then it really would have been a surprise when he turns up at Karen's door to go with her to the Tony's. 

Michael Swift? Whaaat?

It's over. It's really over. And I'm sad.

The big number that Tom and Julia wrote for the Tony's is "Big Finish." Ivy and Karen sing it. It's a great number, and it really is a great way to end the series. 

Quotes:

Leigh (to Ivy): I thanked you in person. That's better.

Karen (to Derek): This will pass. But you have to let it.

Julia (to Jimmy): Stop sabotaging yourself. Whatever makes you do that, it's time to face it, once and for all. It's not too late.

Karen: What's not fair is you're not going too.
Ana: Believe me, I'm gonna cry after you leave.

Leigh: Have you practiced?
Ivy: My speech? No. I'm not winning.
Leigh: No, your losing face when I win. Here, try this one.

Ivy: Good thing you got to practice that face, huh?

Julia: Is it possible that I want Kyle to win instead of me? I mean, could I actually be that selfless?
Tom: Historically, no. But people change.

Tom: You okay?
Julia: Yea. But it turns out that I actually did want to win.

Julia: Jimmy deserves original score, and we deserve cocktails with olives in them. Several.

Jimmy (to Julia): It's okay. I got the one I wanted.

Derek: First of all, I'd like to thank the Tony voters for judging the work, not the man.

Daisy: What are you doing?
Derek: Something I should have done a long time ago. Taking you out.
[Aside: If you were reading this without the context behind it, you'd think he was asking her out on a date. No, he's firing her. Yay! End of aside.]
Daisy: You can't do that.
Derek: Weren't you listening? Everyone out there hates me, so I can do pretty much anything I feel like.

Jimmy: It looks like someone forgot to the tell the announcer.

Julia: After all that, it ends here, huh?

Ivy: I'd like to thank my mother, Leigh Conroy, the magnificent Leigh Conroy for giving me the greatest gift. And that is a life in the theatre.

*Ivy: For me, there is nothing more magical than that moment right as the lights go down and the crowd is waiting in silence with anticipation for the show to begin. It's a moment full of hope and full of possibilities. So, I'd like to thank the audience for coming, and for believing, as I do, that there is nothing more important or special as live theatre.

Eileen (to Derek): Don't worry They'll get over it. All they need is another show.
Derek: I'm game if you are.

Tom (to Derek, re: the Tony award): It spins.

Ivy: Are you ready to give the people what they want?
Karen: Always.

Smash: The Nominations

These last two recaps of Smash are dedicated to my good friend, Megan, whom I first met when we played courtesans in a production of A Funny Thing Happened on the Way to the Forum. Since then we've done a few more shows together. Thanks for enjoying the recaps!

If you've read any of my previous recaps posts for Smash, you know that I don't think that the show lived up to its potential. I was hoping that it would get renewed for a third season so it would get a second (or, I guess you could say, third) chance to get it right. Oh well, if wishes were fishes, as they say.

Watching this episode reminds me again of how much I'm going to miss this show - the backstage look at theater part. Not so much the soap opera plot lines. Even though there weren't any production numbers, I enjoyed the inside look (albeit quite fictional look) at the nomination season on Broadway. The excitement of getting nominated, of winning and losing.

Observations:

It's interesting that Ivy has a poster of Heaven on Earth, the Broadway musical she was in when she auditioned for the then untitled Marilyn Monroe musical in season 1, on the wall above her bed. Why wouldn't she have a poster for Bombshell? She's starring in that.

Agnes was so excited to tell Eileen that Bombshell got 10 Outer Critics Circle nominations, and Eileen has to burst Agnes's bubble by telling her that Hit List got 11 nominations. Come on, Eileen (ooh, there's a song there), get excited for your 10 nominations instead of boohooing that Hit List got one more than you did. Interesting fact: There are only 11 Outer Critics Circle awards that a musical can win. I wonder which one Bombshell didn't get nominated for. I know, this show is fiction, so it could be anything (except for the ones they specifically say in the show it was nominated for), so let me make my guess: outstanding actor in a musical.

I haven't ever seen the star of a show take their curtain call solo. But Ivy did. Strange.

Is the fictional musical The Gathering Storm really supposed to be three acts? A musical in three acts - I've never heard of that before. I've heard of plenty of plays that have three acts, but not any musicals.

Tom just demonstrated why you never use your cell phone during a show. I think it's funny how the writers thought it would be so "hip" and "modern" to let audience members use their cell phones during Hit List, but then they have this scene with Tom using his cell phone during The Gathering Storm as a commentary of how annoying it is to other audience members.

Come on, Eileen (sorry, I just had to say it again), tell Tom to shut that phone off! However, it is hilarious how he uses the light of the phone to see who it is that's sitting behind him in the theater.

I'm shocked!!! Karen won the Outer Critics Circle award for outstanding actress in a musical. Oh, wait. No, I'm not shocked at all. We're talking about Miss Perfect, Karen Cartwright. Well, after the few short scenes I've seen of her in Hit List, I definitely wouldn't have voted for her.

Why would Ivy think that Karen won the OCC award just because she trash-talked Ivy? I don't think that's how critics decide who to vote for. I think the critics vote by, surprise, who actually had the best performance.

I just love Bobby and Jessica. I'm going to miss them. Hey, I've got a great idea! NBC, why don't you give them their own spin-off series. It could be about two best friends who are gypsies on Broadway. You could call it Gypsies. They could also go on tours of Broadway shows, and do regional theater. It could be great fun. Please, oh, please!

Tom won the Outer Critics Circle award for best director! Good for him. However, he did tie with Derek. Cop out anyone?

Do these writers do their research? The Outer Critics Circle doesn't have a category for best book. You can win outstanding musical or outstanding score - not outstanding book. Didn't any of these Broadway actors in the show tell anyone that that award doesn't exist? I'm so disappointed.

I'm surprised that we don't get to see Karen finding out she won the OCC award. Even though it's annoying to me that she won, it's a big deal for someone in their first Broadway show to win an award like that. When we see Karen again after we find out she won, we don't see any kind of excitement from her. We don't see any excitement from her about anything. For someone who has reached her dream, she doesn't seem happy at all.

And we just got to the opening credits. Boy a lot happened before those credits.

If Daisy is typical of actors trying to make it on Broadway, it's a sad thing to say about actors trying to make it on Broadway.

Were Julia and Kyle "close?" Julia spent a few days helping Kyle with the script, I wouldn't call that being "close."

The scene with Tom trying to take the wine back at the hotel is pretty funny. I really wish that Smash had had more comedy in it, and less angst. I think it would have been a better show.

Yes, Ivy said something she shouldn't have about Hit List and Kyle, but I'm shocked that an audience member would say what she said to Ivy in the first place.

It's nice to see that Tom and Derek are friends again.

It's so hard to see what an unlikable person Jimmy is. There is a way to make a character jerk and still be strangely likable - look at Derek. The writers just never figured out how to do that with Jimmy's character. It's so frustrating.

The episode was going so well, and then they throw in that "circle of Smash." People who were friends, and liked each other, now have a major falling out. Big scene, big blowup. But, we do get Eileen to break up the fight with one of her. The only sane person around.

Okay, I like Karen right now. She tells Jimmy that he needs to take a break from performing, and actually see the show he wrote with Kyle. It's an amazing thing to see a show that you wrote performed on a stage. I can't imagine what it would be like to see it performed on a Broadway stage. I hope someday I do.

Poor Derek. He did something really crummy, but I feel sorry for the way everyone is treating him. I guess it's because he really is a likable character. *wink*

And the Tony Nominees Are (the ones we care about):

Featured Actress in a Musical:

• Leigh Conroy: Bombshell
• Ivy Lynn: Liaisons
• Daisy Parker: Hit List

Choreography:

• Derek Wills: Bombshell
• Derek Wills: Hit List

Best Book of a Musical:

• Kyle Bishop: Hit List
• Julia Houston: Bombshell

Original Score:

• Bombshell
• Hit List

Direction of a Musical:

• Tom Levitt: Bombshell
• Derek Wills: Hit List

Actress in a Musical

• Karen Cartwright: Hit List
• Ivy Lynn: Bombshell

It's Cheyenne Jackson and Christine Ebersole announcing the Tony nominations. So cool.

Psyche! They accidentally skipped Ivy's name, so she didn't think she got the nomination. But, surprise, she did! Whew!

Why do they have to make Frank so horrible. I liked him. They really screwed up with that plot line.

Derek is being a man and owing up to the mistake he made. Good for you, Derek.

Quotes:

Patrick Dillon: Are you kidding me? Haven't you ever been in a theater before?
Tom: Not only have a been there, I just won a major award for it. Best Director.

Sam: But, hey, awards are not important. Right?

Tom: Please tell me those are J. Crew.

Agnes: Ah, if it isn't my two favorite P.R. disasters. What are you going to do for an encore today, burned down Table 46?

Tom: You should know that our encounter with the wine did not go well.

Jerry: Eileen. Thought you'd be wearing black today.
Eileen: No, Jerry. I'm saving it for your funeral.

Derek: Okay, this is awkward. Do you want to go first, kind sir?
Tom: You first. I'll finish. That seems familiar.

Eileen: My life has to be about more than this show.

Julia: Artists shouldn't feel ashamed about helping each other. It shouldn't always be a competition.

Tom: We did everything possible to blow these nominations. I take great solace in that.
Ivy: We didn't go halfway, it's true.

Ivy: Of course that's her. She probably wants me to withdraw.

Ana: Well, I'm gonna go in the other room and... eavesdrop.

Jimmy: Kind of nice knowing that you're leaving something behind no matter what.

Smash: Final Recaps

I have to confess that it's been hard for me to get motivated to write the posts for the final two episodes of Smash. I am really bummed that the series was canceled, so it's been hard for me to write about "The Nominations" and "The Tonys" (even though I loved the episodes for the most part).

However, if you, my readers, would like to hear my thoughts about the episodes, and read the quotes that I liked, then please comment on this post and let me know. I would be happy to take the time to write about them if I knew that you would enjoy reading the posts. That would definitely be a great motivation for me.

Thanks for reading!

Smash: The Transfer

Oh dear. Smash is the show with an identity crisis. It has crammed so much into the end of this season that you wonder if it knew what it really wanted to be. Let's have a tragic death, let's have blackmail to get a part, let's have a partnership that's breaking up, let's have an unexpected pregnancy, let's have a... well, whatever Jimmy's problem is, and every once in a while let's have some great music. Oh, and let's have a cameo by real life Broadway composer/lyricist/actor, Lin-Manuel Miranda (In the Heights, Bring It On, the Musical).

Observations:

I have a question about the opening number in this episode, "Pretender." According to the synopsis of Hit List from Josh Safran, the showrunner of Smash, the song takes place at a Hollywood party. Amanda sings the song that was written by Jesse, who is supposed to be "hidden away" so no one finds out he's giving Amanda songs (for what reason, I can't even imagine). So, why is Jeremy Jordan (Jesse) on stage playing the piano for the song if he's supposed to be hidden away from everyone? I really don't think that Hit List was really well thought out. I think they just got some great songs, and threw together a plot to fit the songs (kind of like a jukebox musical).

Ana's delivery of her line is really terrible. And... why is there dialog anyway? Isn't this a sung-thru musical?

Okay, whoever Lindsay is... she can belt!

It's so funny that in an earlier episode, Ivy told Karen that Hit List better not get to Broadway in the same season as Bombshell because she didn't want to have to compete against Karen for the Tony. Now, she sees Karen and congratulates her on getting to Broadway, and she sounds sincere. I thought that there would be a little animosity from Ivy. But no. She's all smiles and full of congratulations for Karen. Weird.

I loved the server at Table 49 telling Jimmy that there are tables he could bus if he's "feeling nostalgic." Jimmy smiles at that line, but I wish he would have said something back to the server. It would have much more realistic for him to have a witty comeback, not just go on talking to Derek and Julia.

The Diva's solo "Reach For Me" had her spinning eight feet up in the air in the old space. Now that they're on Broadway, she's 30 feet up in the air. Yea, it's going to take time to adjust. That would freak me out!

Tom and Derek used to hate each other. And now their doing fist bumps with each other. They've become friends again without us really knowing why they had a falling out to begin with.

Oh, that was a low blow, Derek. Giving Ana's part to Daisy. And just when we were starting to like you again.

I wonder what Karen would have done if Derek had fired her. Maybe that's what this show needed - something jarring and unpredictable like Karen having a problem of some kind. Everything just always goes her way and everyone else around her has problems. And when they have problems, she thinks she can just talk to Derek and fix it all.

I love it when the mention other Broadway shows and performers (past or present) on Smash. Sam Mendes's Cabaret, Thoroughly Modern Millie, Sutton Foster, Bring It On, Laura Benanti, Norbert Leo Butz, Alice Ripley.

It's interesting to hear Derek talk about the kind of pressure he's under to make the show a memorial to Kyle's memory. I agree with him that he needs to try to create a good show, not make sure that every decision he makes is something Kyle would have wanted. Kyle was not a seasoned writer. In fact, they made the show sung-thru (or so they say, it's sung-thru) because Kyle was not a good writer. Now, all of a sudden they say how wonderful he was. The show is so inconsistent.

Why is Derek watching Daisy's rehearsal from the wings. He should be watching from the house. And then he starts talking to Karen and not even watching her rehearse. Then, Daisy doesn't even sing her song at all. She just goes straight into rehearsing the trick 30 feet in the air.

Ivy's doing a commercial for the Ford Fusion. That is hilarious. We get a commercial right in the middle of the show. Now that's what I call "product placement." *wink* The funniest thing about it is that few people who live in New York even own a car. They take public transportation or walk everywhere. I loved the director's lines at the end of the filming of the commercial. He says, "And cut. Print it. Moving on." That's close to the title of the Act I closing number from Bombshell, "Cut, Print... Moving On."

If a were booked to perform a number at a concert, and the director called me the afternoon on the day of the concert and said he wanted me change the number I was doing and I didn't even know the number he wanted me to do in a few hours, I would not be very happy. In fact, I don't think I'd say yes. That's just cutting it a bit too close.

Not only is Tom changing Ivy's song the afternoon of the concert. He's changing the whole show. Yea, you got that right. The whole show. The day of the show. And Tom is doing this because he wants the Tony voters to see what a great director he is. If you wanted the Tony voters to see what a great director you are, you would want time to rehearse, rehearse, rehearse. You wouldn't throw something together the day of the show. Who writes these scripts? People who don't do theatre.

Okay, I'm ready to freak out right now about the stupidest idea ever for a show. Kyle had this idea to have the theatre take the patrons' cell phone numbers before the show and send them texts during the show. What!!! First of all, I wouldn't want to give the theatre my cell phone number. Secondly, do you know how annoying that would be - to sit in a theatre and have everyone's cell phone go off at the same time - all the noisy and the annoying lighted up screens? And finally, if everyone has their phone on, they're not just getting texts from the theatre, they're getting texts from friends, and family, and others, constantly. That's why they ask people to turn their phone OFF! If this is what the writers think the future of the theatre is, then I don't know what say. Yes, I do. Stupid, stupid, stupid. End of rant.

The little banter between Tom and Lin-Manuel Miranda, was hilarious. They just rib each other with big smiles on their faces.

Just when I was starting to like Julia a little bit again, she has to treat Tom like crap and ruin it all over for me.

It's interesting how Julia and Jimmy are changing Hit List, and Derek on the sidelines. This is Derek's show. He is the director. Julia should be running the changes by Derek and then Derek should be incorporating the changes. It should fit with the vision of the director. If it doesn't, then the show as a whole will be a mess.

I love that we see Ivy running the song to herself in the dressing room. I'm sure that with the little rehearsal she's had that she would be freaking out at this moment.

We're getting more dialogue in Hit List than we ever got in Bombshell. That's probably because without the dialogue viewers would have no idea what the songs are about, they're so not self-explanatory like Bombshell's are. In fact, they're not a bit musical theatre at all.

I really don't like the musical number "I'm Not Sorry" at all. It's just like a music video, not a number from a musical. I know that it's supposed to be a performance at the VMAs, but it's still in a musical.

And the cell phones begin to ring, and the displays light up, and they're in a theatre. Arrgghh! Maybe you'd get young kids into the show, but I bet it would annoy and alienate older patrons.

So, Tom didn't even know what song he and Julia would end up doing. That's throwing something on him at the last minute, isn't it?

It's nice to hear Tom and Julia sing a duet. The flashbacks of the scenes between Tom and Julia are nice. I didn't really like the song "The Right Regrets" when I first heard it on iTunes, but I liked it in the context of the show. It was a nice moment. And all is mended between them. Or is it?

Sometimes I don't like Eileen very much. She puts the show ahead of her friends. That could be an easy way to lose friends.

It's interesting to hear the conversation between Julia and Jimmy when Julia tells him that she can't help him with Hit List anymore because she has her own show to worry about. Jimmy is upset (surprise!) and says he knows it's because Hit List is Bombshell's competition. Julia's response is "We're colleagues." At the real Tony awards on Sunday, a few Tony award winners talked about how their fellow nominees weren't their competition, but their colleagues. At the time I thought it was such a great thing to say. I still do, but I wonder if any of them saw this episode of Smash.

I can't believe what Ana said to Ivy. That came out of left field and was so inappropriate. You would never ask someone you hardly know something that personal. I get it. She had to say it so that Ivy would be mad at Karen again, but wow! That girl has some nerve!

And... the circle of Smash strikes again. Tom and Julia are on the mend, and Ivy and Karen are on the outs. What will happen in the next episode? Will everyone end up friends, or will everyone go their separate ways and never talk to each other again. Oh, the drama of life in the the-u-tuh.

Quotes:

Lindsay:  Thanks again for asking me to do the concert. I think I'll be the only one at Houston-Levitt night who hasn't won a Tony
Tom: Except Houston and Levitt.
Eileen: This isn't about the Tonys anyway. It's about old friends getting together for a wonderful celebration. Take care, Lindsay.
Lindsay: Bye.
Tom: Bye. Thanks.
[Lindsay leaves]
Eileen (to Tom): This is all about the Tonys.
Tom: You don't say.

Ivy: Hey, uh, things are probably going to get a little crazy arounds award season, and can we just promise that whatever happens that we're going to be adults about it.
Karen: Yes. You have my word.

Server (to Jimmy): We've got tables to bus if you're feeling nostalgic.

Jimmy: I don't care how many tickets we've sold. I need the show to be perfect by the time we open.
Julia: There's time. You're still in previews.
Jimmy: Yea, and the Tony nominations are coming soon.
Derek: Hmm, now he wants a Tony.
Jimmy: Not for me. For Kyle.

Tom: Oh, look, there's Mom and her new family.

Julia: Trust me, I am not doing you any favors by not getting up there and singing.

Eileen: You can sing the alphabet for all I care, just as long as you're smiling and singing together.

Karen (to Ana): Six months ago I never thought I'd get here. Thank you, Jimmy.

Derek: I think Ana's making far too many mistakes. She's exhausted.
Stage Manager: What do you want to do?
Derek: Just give her tomorrow night off.
Stage Manager: And put Daisy in? If you think it'll help Ana...
Derek: Mmm. Couldn't hurt.

Jimmy: I've spent last night online. I was reading feedback.
Derek: Oh, yea, the internet. A lot of helpful information there.

Derek: Listen, too many changes, people think you're scared of something. Just try to find one thing that feels organic and change that.

Karen (to Ana): You don't know Derek like I do. He just wants to make sure you're at your best when we open.
[Side note: If that were true, he'd want her to perform in the previews, because you're only at your best when you rehearse.]

Karen: They're giving you a break.
Ana: You know who else had a break? Erin Dilly in Thoroughly Modern Millie. Sutton Foster went on for her. Guess who's still on a break?

Derek: One night off is not going to kill her.

Derek: I'm under a lot of pressure here, Karen.
Karen: Yea, so am I.

Ivy (in Ford commercial): At night I play an icon. By day I drive one. Introducing the entirely new Ford Fusion. Stunning design, inside and out. Just like me.

Julia: Nothing's impossible if you have enough money.

Jimmy: Can we really get that done by tonight?
Julia: We could try.
[Side note: Um, no, I don't think you could.]

Lin-Manuel Miranda: that's the thing about Jonathan Groff - he curses like a sailor.

Lin: Tom. Hey, I'm sorry I haven't had a chance to see Bombshell, but I hear the tourists love it.
Tom: Thanks. I tried to see Bring It On, but it closed too fast, I didn't get a chance.
Lin: Well, when you don't have the sweet, gratuitous nudity to keep you running -- So, where's Julia? Or are the rumors true?
Tom: Oh, she's here. She's singing tonight, so she's probably by the bar. Tequila courage. Excuse me.
Lin: All right. I'm a tweet that. I love you.
[Tom walks away]
Tom (sing-songy to himself): I hate you.

Eileen: This is getting ridiculous. Where is Julia?
Tom: I told Laura Benanti she's in the bathroom. I told Norbert she's in a taxi. I told Alice Ripley she's backstage. Why can't I tell everyone the same lie?
(Side note: I wish those three actors actually had cameos in this episode. And they did a trio. That would have been great.)

Eileen: What I love about you is that you're never afraid to be yourself. You either go big or you go home.
Ivy: A couple of those nights I probably should have just gone home.

Karen: I can't believe I almost let something happen between us.
Derek: How is this suddenly about you?
Karen: Well, because it's always about you.
(Side note: Karen's answer to his question makes absolutely no sense. It's about her because it's about Derek? What? Although, I am glad that someone finally asked why it's always about Karen.)

Ana: Derek, this is my job.
Derek: Yes, and it's my career. And honestly, you'll get another job.
Ana: Are you kidding me!

Ivy: Hey, I thought we were going to be adults about this.
Karen: What are you talking about?
Ivy: You have no right telling anyone that I slept with Derek to get a part or anything else.
Karen: Okay, wait. First of all, if you're talking about me telling Ana. She's my best friend. And second, Ivy, everyone already knows. If it's coming to bite you in the [butt], maybe that's on you.
Ivy: You play this naive, just-off-the-bus routine to get exactly what you want, but deep down you're just as calculating as the next person.
Karen: You being the next person?
Ivy: Oh, you really want to play it like that?
Karen: I'm not playing anything.
Ivy: You know what, I'm actually glad that Hit List made it to Broadway, 'cause the only thing better than getting a Tony, will be beating you to get it.
Karen: Okay, I think we're done here.
Ivy: See you on the red carpet.
Karen: If you make it there.

Smash: The Phenomenon

When you read this recap, you'll probably ask yourself, "If so many things bug you about this show, why do you watch it?" The answer is simple. Well, maybe not so simple. I love the world of Smash. Theatre is one of my great loves, and to have a show on Broadway is one of my biggest dreams. So, it's just a given that since there's a show on television that is about theatre on Broadway, that I'll watch it. No matter how silly or unrealistic or overly maudlin or soap operish it gets.

And speaking of soap opera. I feel like Smash has just become one. I guess that's what happens when the showrunner is was once the showrunner for Gossip Girl. The show doesn't have to be a soap opera simply because it's a prime time "drama." It could be so much more. Correction: It could have been so much more.

Observations:

Jimmy is singing to himself. Literally.

I'm liking Scott less and less. He's making "his career" hang on one show, and that show hangs on Julia. So, if Julia can't get Tom to allow her to do Gatsby, then Scott's career is over and it's Julia's fault - again. Manipulative much?

I'm not really sure I like this plot line. I think that the show is trying to too hard to make Hit List like Rent. Now, the show will transfer to Broadway, not on its own merit, but simply because its book writer died. I don't like it.

It's ironic that it's Jesse L. Martin (Scott), who was in the original production of Rent, that's talking about doing the show to honor Kyle.

I'm so surprised that no one is actually crying. There has to be one character in this cast who actually cries over a friend's death. I don't know if it was the director's choice not to have anyone cry, but it's very unrealistic to me. Even I'm not crying, and I am a cryer! Maybe that's another reason why this plot bugs me. Usually you have a death in a story to make people feel something. I don't feel anything.

I don't like the flashbacks. They're just so forced, and their purpose if not to show us things about Kyle we never knew, it's to foreshadow something else that will happen in the plot. He liked the gesture of the lights being dimmed on Broadway when a theater person dies. So, we'll get some lights dimmed for Kyle.

In a flashback, Kyle mentions to Tom that he doesn't like how some random musical number we've never heard yet in Bombshell ends, so Tom changes the scene - after his death. It would have been more interesting if it were a scene we were familiar with already and we saw in a previous episode that Tom changed the scene suddenly (right after Kyle mentioned it), but we didn't know why. And now we finally discover why he changed it.

I am so glad that Tom got a solo, and we get to hear again how great Christian Borle's

Why is everyone saying they're sorry for Julia's loss? She worked with Kyle for a few days on the script for Hit List, and now suddenly Kyle is like family to Julia? What? It's especially funny coming from Tom, who was a little close to Kyle than Julia.

So, the show was canceled, but the entire cast is still hanging around in the green room? Is that because they all want to "be there for each other"? Or is it because it's more convenient that they didn't have to have a scene where the stage manager is calling everyone to come back to the theatre to do the show when Derek decides to do it?

So, they're just going to do a concert version of the show, not a full production. This is paralleling Rent even more. According to wikipedia: "Due to Larson's death the day before the first preview performance, the cast agreed that they would premiere the show by simply singing it through, all the while sitting at three prop tables lined up on stage. But by the time the show got it its high energy "La Vie Boheme," the cast could no longer contain themselves and did the rest of the show as it was meant to be, minus costumes, to the crowd and the Larson family's approval."

Karen finally finds Jimmy, and suddenly it's not about Kyle's death anymore. It's about, wait for it... Karen. No surprise there.

And there's a poster for Rent. Coincidence? I think not.

I do like how the lighting of the flashbacks is a bit "rosier" that the scenes in the present. It's a nice touch.

I would have directed Jimmy's entrance so differently. I would have had Sam start singing "The Love I Meant to Say," and then had Jimmy come in and take it over. Then I would have just had Jimmy stand toward the audience and sing it, not moving into the boring staging of it. I don't think that actually doing the blocking of "The Love I Meant to Say" made it anymore poignant. I didn't really like watching Karen walking toward him. I think this would have been a good place to have flashbacks of Kyle interspersed. However, the song was beautiful, and Jeremy Jordan sang it beautifully.

Surprise! Hit List is moving to Broadway. I'm shocked! *wink*

Jimmy tells Karen that he doesn't want to do something with her that night or tomorrow because he has a lot to deal with. And Karen's asks if he's mad at her. His best friend just died, Karen! It's not all about you! I don't understand these writers and their fascination with Karen. I. Just. Don't. Get. It.

Okay, I do think it's a sweet gesture that Eileen (or Tom) had the lights of Bombshell dimmed in Kyle's honor. However, we knew something like that was going to happen from the beginning of the show since we saw Kyle tell Julia about it. Maybe if that scene had been in a previous episode, not just a flashback in this one, it would have been more poignant. I don't know. Again, I just think this episode was full of too many "

Quotes:

Scott: So, what do we do about tonight's performance.
Derek: We cancel. Obviously.
Scott: Are you sure?
Derek: Uh, yea. I think "The show must go on" isn't apropos at this particular moment, Scott.

Tom: Is that is for today's installment of "Tom the Monster"?

Eileen: I don't appreciate these little stunts of yours.

Jerry: I went into the wrong business. I should have been a psychic.

Jerry: And here I thought the ice between us was melting.
[Eileen throws a drink in his face]
Eileen: No. It's as cold as ever.

Derek: I'm good at caring so much.

Scott: We're a phenomenon. People are going to remember this night forever.

Derek: There's a lot of people out there who want to hear what you have to say. And more that that, they want to hear what Kyle had to say. And you guys... you're the only ones who have the power to tell them. So... do him proud.

Jimmy: How can you be so sure?
Kyle: I'm not. I just pretend that I am.

Kyle: Are you sure she has to die? Musicals usually have happy endings.
Jimmy: Not the ones you like.
Kyle: You're right. So... she must die. So your character can learn something.

Ivy: The show was amazing.
Derek: Thank you. Technically, it wasn't all me.
Ivy: Wow! That may be the first time you've said something like that. How does it feel?

Smash: What Season 3 Would Have Been

Now that Smash is over (and yes, I will be posting my thoughts on the series finale, eventually), the series' showrunner, Josh Safran, has talked about what season 3 might have been if the series has been renewed. Click here to read the article.

I don't know how I would have felt about the show moving from the theatre to the characters making a movie musical. What I loved about Smash to begin with was it was about the theatre, a medium that I love. Yes, I love movies too, but there's nothing like live theatre.

Smash: The Producers

And the TV recaps resume.

In my TV recaps update post yesterday I mentioned that I would recap the episodes of the shows I've missed in one post per series. Well, I changed my mind. I had so much to say about this episode that I'm going to have a post per episode just as I have in the past. Go figure.

Now that Bombshell has opened on Broadway, Eileen has to make sure that it stays open. At least long enough to get Tony nominations. And Hit List just wants to get to Broadway. Unfortunately, Jimmy is the biggest obstacle since he can't seem to get over his breakup with Karen.

Observations:

Kathy Lee Gifford as a platinum blonde. I don't think so. But she is pretty funny.

We get it. The cast is tired.

It's fun to see "The Twentieth Century Fox Mambo" again. We haven't seen it since early in the first season.

Scott announced to his board that they would be doing Julia's version of The Great Gatsby at his theatre, but does Julia have the rights to it yet?

Why would Hit List give a big plot line away in a major magazine? Having the Diva pointing a gun at Amanda is really a strange thing to do.

I love all of the fictional musicals they've made up to be against Bombshell for the Tony awards.

I thought that shows could be nominated for a Tony even if they close before the actual Tony awards (which are in June). I thought the nominations could be any show that opened during the season. So, why wouldn't the fictional Lloyd Weber musical not be eligible just because it was closing in April? Hmm.

I'm sure Marisa Tomei was shocked to learn that she broke her leg, and that Andrew Lloyd Weber was surprised to find out he had a show close that he didn't even know opened. *wink*

Why can't Julia still make The Great Gatsby into a musical with Tom? At least this show would have a script to begin with - unlike Bombshell.

Scott has only read one scene of The Great Gatsby and he says that it's "not just an adaptation. It stands on its own." How can he tell from one scene? And the only way it wouldn't be an adaptation is if Julia was writing a whole different story. If it has Fitzgerald's story, it's an adaptation.

How would Julia be breaking her promise to Scott if she turns it into a musical? Does he only want to do a play, not a musical? This plot line is just so strange to me. It's that circle of Smash. One person does something to make someone mad, and then just as they make up, the other person does something else to make the first person mad. It just doesn't stop, does it?

It's really horrible that Scott is making his career hang on Julia. If she doesn't give him what he wants, his career is over again. That's a lot of pressure to put on someone.

Why would Jimmy be shocked that they are auditioning understudies for his role? Most shows have an understudy for the leads, it's not like it's a new thing.

I like Leslie Odom, Jr, but he can't sing "Rewrite This Story" like Jeremy Jordan.

Everything is always about Karen. She think the show is probably going to be ruined because she broke up with Jimmy. She just has so much power doesn't she?

Eileen is scheduling to do a number from Bombshell at the Brighton Beach Senior Center. Wow, I'm sure that's going to sell a lot of tickets. *wink*

I love Kyle's mother's reaction to seeing Kyle's name on the poster outside the theatre. What a happy mamma.

I have this love/hate relationship with both Tom and Julia. They do the same things to each other, and then complain about each other doing the same thing. Julia gets mad at Tom because he wants to direct on his own. Tom gets mad at Julia because she wants to write Gatsby on her own. Children, children, grow up and stop fighting!

Why would Jimmy be late after all of that? Passive-aggressive much?

The announcement at the beginning of Hit List that using cell phones and other recording devices is permitted and encouraged is pretty revolutionary (I'm sure that was the point), and it's also very unlikely a show would actually permit that. I just hope they didn't mean that audience members could also use their cell phones to text and tweet during the show too. Now, that would just be rude  to the other audience members. Also, if they don't own the show any more than the audience, does that mean the audience will get a cut of the profits? *wink*

Love "Rewrite this Story." I wish they didn't cut to another scene just as the song started. I'll have to go back and watch the episode that has the number again.

It looks like Tom just broke up the partnership of Houston and Levitt.

I love the blocking and choreography for "Don't Let Me Know." I would be interested in seeing a full production of Hit List, just for the songs and choreography. Click here for a synopsis of and list of songs for Hit List. Reading the synopsis, I can't see how this could be a through-sung musical. So much happens between the songs, and we haven't heard any songs that are "recitative" that could take the place of dialog. The lyrics of the songs are very popish, not very musical theatre. I have some more issues about the plot, but I'll have to leave that for another post.

The stage manager says that Jimmy is usually "down left" when they notice he's not where he should be. Then, seconds later, when the Diva shoots Amanda, the stage manager asks why Jimmy didn't catch her. He couldn't have caught her anyway if he was supposed to be "down left" since Amanda is up center on a platform that he has to run up stairs to get to. There was a disconnect there.

So, "The Goodbye Song," the last song in Hit List is very a very interesting way to end a show where one of the main characters just died. Everyone is jumping doing a happy dance as Amanda goes off into heaven, or wherever.

I love how the producers are talking about Rent with Agnes (played by Daphne Rubin-Vega, who originated the role of Mimi in Rent on Broadway). It's so flippy.

Andy Mientus (Kyle) has a great voice. Why didn't they give him more songs to sing?

That big billboard of Bombshell outside of Eileen's office window is so cool.

I have so many thoughts and opinions about that last one minute of this episode. I'll get to those in subsequent posts.

Quotes:

Karen: So, you're still seeing him?
Anna: Yes, I am. Adam's funny. He makes me laugh.
(Side note: I know this is random, but this line, and the way Krysta Rodriguez delivers the line, reminds me of Cinderella's line to her Fairy Godmother in Faerie Tale Theatre's Cinderella, "I like you. You make life fun.")

Derek: Tell you what... if a bomb goes off tonight, Broadway as we know it will probably cease to
exist.

Agnes: Marisa Tomei broke her leg, which means...
Eileen: Moonstruck won't be going to Broadway this season.

Blake: How's he doing?
Kyle: He's detoxing, I hope.
Blake: Let me know if you need any help.
Jimmy: I'm right here.

Kyle (to Jimmy): Don't blow everything up just because somebody broke your heart.

Derek: The good news is I've found your understudy, so the next time you decide to go on a bender, the show won't suffer.
Jimmy: No, only the audience.

Julia: We never really disagree about lyrics.
Tom: Hmm. Because she writes them.

Julia: Maybe we're just going in different directions.
Tom: Or, maybe this partnership only works when it's all about you.

Anna (to Jimmy): You are stronger than you look.

Eileen: Oh, you know how most producers are. Taste doesn't motivate them, money does. And they just see the money.

Derek: What do you think it means if a women you thought you were seeing that you've called five times in a day doesn't answer the phone.
Karen: Ooh. Goodness. She's probably on the other line getting a restraining order.

TV Recaps: An Update

I know I'm a bit behind on my TV recaps. I was behind to begin with, but then I started having issues with my DVD recorder. The machine began to error out on me. Then it completely erased the DVDs I made of the last four episodes of Once Upon a Time when I recorded the season finale, as well as erasing two episodes of Doctor Who after I recorded Nightmare in Silver. And then it wouldn't play any DVDs at all. To put it lightly, I was extremely upset about it. Luckily, I bought a four year warranty on the machine when I bought it at Best Buy, and I now have a new DVD recorder (and if this one breaks down, I'll get another).

I was able to rerecord the episodes of Doctor Who that I lost (thank you BBC America for airing all of season 7 part 2 prior to the season finale). Unfortunately, I wasn't so lucky with Once Upon a Time. However, I can watch them on my iPad using the ABC app. I'll just have to do it soon before they remove them.

So, to make a long story short (believe me, there is much more to the story), I will probably recap the remaining episodes of each series in one post per series. Some of these last few episodes have been really, really good, while others left me a bit disappointed. So, until I get to the recaps, please enjoy the quippy quotes of Buffy the Vampire Slayer!

Thanks for your readership. I hope you enjoy the posts as much as I enjoy watching and rewatching the episodes.

Did Any Pilots I'm Interested in Make it into the 2013 Fall Season?

In February I made a list of TV shows I was interested in seeing that were being considered for the 2013 Fall season. The networks have finally made their choices of what pilots will be airing come September (or October, who knows).

I'm excited to see the following pilots in Autumn:

ABC

Marvel Agents of S.H.I.E.L.D.

(very brief preview):


NBC

Ironside

FOX

Sleepy Hollow

CW

Reign
Star-crossed (formally titled Oxygen)

The following didn't make the cut:

ABC

Big Thunder
Gothica

CBS

The Surgeon General

NBC

Bloodline
Wonderland (I couldn't find this pilot in NBC's list)

CW

The Selection

Additionally, it looks like the inevitable happened, Smash has been canceled. I'm mostly sad for what the show could have been if given another season; it has so much potential. But then again, it may have gotten worse, who knows. I will miss the new music and seeing inside the world of Broadway (even if much of it was quite unbelievable). I won't miss the horrible soap opera plots, and how annoying Karen became. Oh, and I'll certainly miss Jeremy Jordan's voice.

All of the other shows I watch regularly have been renewed for another season. I am happy about that.

And finally... it looks like ABC really is spinning off Once Upon a Time into Wonderland. I'm interested to see how that goes.

Smash: Opening Night

Opening nights are big. And opening night on Broadway is about as big as you can get. I loved this episode. Who knows what the fate of Smash is, but if the episode are as good as this one was, and it is canceled, at least it will go out on a high note.

Observations:

Julia is already pitching new ideas for musicals to Tom. Her ideas are hilarious. Gulliver's Travels, Lord of the Flies, the poetry of Ezra Pound (yea, I'm sure that would make millions *wink* And I loved how Tom just rolled his eyes on that one), and the funniest of all: The Very Hungry Caterpillar (where did that come from?).

Hit List is sold out for its entire run. I would think the cast's response would be bigger than a few lackluster cheers when Scott tells them. I would also expect Kyle and Jimmy to show more excitement than just smiles. That's a big deal.

It's so funny that Eileen invited everyone from Hit List to see Bombshell on opening night. Those are expensive tickets. Why would a producer give that many seats out for free? And to the cast of a show that she has negative feelings for?

And again... someone has to remark how great the music for Bombshell is. We know the music's great. You don't have to keep telling us how great it is.

I don't believe someone who just saw a show on Broadway would care if the leading lady has been "knocking around the ensemble for years." Most people would think that it's great for someone to get out of the chorus and into a leading role. It's just a weird thing to have someone say. It would have been more realistic if the man had simply said if he thought she was good or not, not notice a thing like how long the leading lady has been in the ensemble. I guess they had to have Ivy hear something that wasn't positive so she'll doubt herself before opening night. It's called drama.

Big reveal! Adam is Jimmy's brother. Hmm.

I have always wanted to see City of Angels (the musical, not the movie). I wish someone in my city would do it.

The opening credits is much shorter than it was before. I wonder why.

Well, surprise, surprise! Julia really still has a son. Last week Ellis was back (well, in a dream, or nightmare, sequence), and this week Leo's back.

I'm surprised that Julia is okay taking her teenage son to a show (even if it is her show) where a woman is naked on stage. But, I guess she would consider that art, right? *shakes head*

Julia just got the idea for her next musical with Tom, The Great Gatsby.

Karen's response to Ana when she asks if they can talk is really snarky. She says, "So, we're doing that again." Karen is still bugging me with her attitude.

I wonder if Ahrens and Flaherty really were going to do a musical of The Great Gatsby. I really would have liked to see that. I love their music.

Why would Julia make the announcement that their next musical will be The Great Gatsby when they don't even have the rights yet? That's just a little premature.

It was so great that Marc Shaiman and Scott Wittman, the composer and lyricist who actually did write the music for Bombshell, have cameos at the theater before opening night of Bombshell. That is a great move! And we know how wonderful their songs are (we hear it over and over and over). But, uh oh. Scott thanks Richard in front of Eileen for telling them about Hit List so they could get the last two tickets. Good way to tick Eileen off even more, Richard.

Okay, I know that Jimmy should have been honest with Karen about having a brother, but when Jimmy tries to tell Karen about his past she interrupts him and says, "You have until the curtain goes up to tell me about your brother or I'm gone." Maybe I'm just not in a "liking Karen" mood right now since she's been acting like a prima dona, but that really annoyed me. He's trying to tell her something and she doesn't give him a chance. And then when Jimmy tells her the truth he tells her that she makes him want to be a good person. Again, Karen is held up on some kind of pedestal by everyone. Annoys me.

I love the exchange between Ivy and her mom before the curtain goes up. I'm so glad that Leigh gives her a wonderful mother-to-daughter pep talk and she isn't negative and doesn't put Ivy down. It's heartwarming.

Ivy is still walking across the stage to her place for the opening number when the "curtain goes up." That was poorly directed to me. They should have waited until she was in place before the scrim opened.

It would have been interesting to see Karen and Derek's reactions throughout the show, or to hear during intermission how they felt about the show they were no long a part of. However, we finally see their reaction during the last number, "Don't Forget Me." The focus first is first on Karen, and she looks sad? Regretful? I couldn't really read her expression. And then we see Derek's reaction, and I love his expression. He isn't smiling, but he seems mesmerized by Ivy. It seems to me that he realizes that she was the perfect choice to play Marilyn, and he seems proud of her.

I just have to say how much I still love "Don't Forget Me," and I loved Ivy's version of the song. It's a great final number to a musical. I love the melody of the song, and it gave me chills. However, I still have issues with some of the lyrics. Why should we think about Marilyn Monroe if we see someone is hurt? Or why should we think about her when we hear someone play the piano on a baby grand or when we sing happy birthday to someone?  What did she do in her life to make her that important to us? She was just an actress. She made movies. Yes, she tragically died young,  and probably had a hard life, but the sentiment of the song sounds so self-centered. Unless she's supposed to be singing it specifically to the people in her life, then it makes sense. We all want to be remembered by those we care about. Otherwise, if she's talking to everyone in general, I just don't like the lyrics. End of soapbox.

Back to the staging of "Don't Forget Me." I'm confused that all of the men in Marilyn's life are on stage during the song. I thought that the version of Julia's script that concentrated on how the men in Marilyn's life shaped who she was was not the version they ended up doing. So, why is it only the men in her life who are on stage? Hmm. I really liked that during the bridge of the song suddenly Derek, Tom, Karen, and Leigh are circling Ivy. It really had an emotional impact due to the words she was singing. I likey. So, even though I don't like the lyrics that much, I do like the emotions the song evokes, and it is definitely a great musical number. I'm sure that it would really give me goose-bumps if I saw it live (which is the best way to see musical theater).

I like the pause at the end of the song before the applause started. You can imagine what was going through Ivy's mind during that pause, as she wonders if the audience liked her. And then she gets a standing ovation. There's your answer, Ivy.

Where is eight year-old Norma Jean during the curtain call? Was it past her bedtime? *wink*

Tom should have told Julia that he may have a chance to direct City of Angels. And to hear it from Rosie O'Donnell? Boy oh boy. Tom's finally forgiven Julia for helping out with Hit List, and now Julia's going to be mad at Tom for not telling him about wanting to direct. It's the Circle of Smash.

I loved seeing Derek's reaction to the show. Not many people yell out "Bravo" anymore. Maybe it's an English thing. And it was touching to see Eileen wipe away tears.

I can understand why Julia is mad at Tom, but it is Tom's career, it's his life. If he wants to pursue directing, it's not Julia place to tell him he can't. I know that they are a writing team, but he's not the only composer in the world. And she can still write. Just when I think Julia is becoming likable again, she's turns back to "angry Julia."

I'm glad that Ivy and Karen have become "friends," or at least civil to one another.

So Ivy thinks Karen is the reason that Hit List is the can't-miss event of the season? Oh boy. That pedestal is getting higher and higher.

Uh oh. Ivy tells Karen she'll get to Broadway "but just not this season," and Karen says, "okay." This is going to be another one of those, "You promised me you wouldn't..." Ivy's going to be mad when Hit List goes to Broadway and they're up against each other for the Tony, because Karen promised her she wouldn't. Just like Karen was mad as Ana when Derek gave her one of her songs after Ana promised she wouldn't let Derek do that. The Circle of Smash.

I can't believe it looks like Ana is on Adam's side when Kyle tells her Adam is trouble. She just met him. If sweet Kyle tells you someone is trouble, you should believe him. I'm glad that Jimmy went to Kyle's defense even though Karen told him not to. He's not going to let Adam do anything to Kyle. It seems that Jimmy's had this bottling up inside him for a long time. It was bound to explode. Too bad it was at Eileen's nice after- party. However, I loved how Eileen stopped the fight. She's gone from throwing drinks in Jerry's face to pouring a bucket of ice on a couple of sparring brothers.

The New York Times called Julia a "playwright," and a great one at that. That's a pretty big compliment. She's come a long way since the Boston tryout when everything was great except the book. This time it's Tom's direction that comes under fire. And now that Tom doesn't think he'll get City of Angels because he didn't get a raving review from The New York Times, he is ready to do Gatsby with Julia and he wants to make up with Julia. But Julia isn't having any of it, because she's back to being "angry Julia," or maybe she's just "disappointed Julia."

I loved, loved, loved Ivy and Karen's duet "That's Life." Marc Shaiman accompanied them on the piano. Love it. I could be picky about details and say, "when did they ever get a chance to rehearse the song together." But I'm not going to do that this time because I just enjoyed their performance. Megan Hilty and Katherine McPhee both have incredible voices. And they sound really good together. I loved the small changes in the lyrics. "I've been up and down and over and out, oh the drama we've seen." "I've thought of quittin', but Eileen just won't buy it." " So  sister, mother, Broadway star, or wife (sure)."

Scott encourages Julia to write Gatsby as a straight play. And he would let her do it at his theater. Hmm. I think it would work better as a musical. Not many books are adapted into plays. Musicals, yes. Plays, not so much.

It's sweet that Leigh is starting a scrapbook for Ivy's shows. I'm glad that the two are getting along.

Quotes:

Eileen: Richard and I aren't doing so great.
Agnes: The article.
Eileen: Totally betrayal.
Agnes: Yea, but it was press. Bombshell got mentioned almost as much as Hit List did. That's a plus in my book.
Eileen: I pay you to say those things.

Karen: It's like going to your ex's wedding. It's not that you want to get back together, but you  don't exactly want to see them marry someone else either.

Derek: Nothing kills the work quicker than worrying about what other people think.

Ivy (to Derek): You don't have to lie to me. I know you, and I still like you.

Jimmy (to Kyle): You know everything about me and you still like me.

Tom: FYI, we're in a limo right now, about to attend an opening on the Great White Way. Can it get any better. Wait! Yes, it could. We wrote the show.

Eileen: You made a choice when you wrote that article, Richard. And now I'm making mine.

Jimmy: Adam got me into that life. Kyle saved me. He is my real brother.

Agnes: Eileen. Where's Richard?
Eileen: We broke up. It's very sad, and I don't want to talk about it.

Leigh: You are Marilyn Monroe on Broadway. Now get out there and show everyone what all those years in the chorus taught you.

Derek: I'm not saying it's better than my version but it's still a pretty good show.
Scott: Let me guess, the choreography saved it.
Derek: Uh huh.

Ivy: The anticipation is killing me. And so were my shoes.

Karen: No one could have been better than you tonight. Not... me. Not anyone. Not even Marilyn Monroe herself.
[Side note: Looks like someone's already forgetting Marilyn. *wink*]

Ivy: You were jealous? The magical Karen Cartwright?

Julia: Obviously I still hate critics.
Scott: Of course.

Scott: No wonder it was so hard to choose between those two for Marilyn. They're both incredible.
Derek: But very different.
Scott: I wonder which one the Tony voters will prefer. Let's go to Broadway.

Scott (to Julia): Why limit yourself? Tom's not.

Smash: The Dress Rehearsal

 

Last week I thought the beginning was a dream sequence, but it ended up being real. This week's opening really was a dream. Poor Tom. And I didn't think we would see Ellis again. Good thing it was only in Tom's dream - well, nightmare.

Dress rehearsals can be very scary. There's a saying in the theatre, "bad dress rehearsal, good opening night." I don't believe that. I think you can have a great opening night after a bad dress rehearsal, but it certainly is nicer when you have a great opening after a great dress.

I had many different reactions to this episode, very few of them neutral. You will see by the comments below that I have lots to say about this one.

Observations:

Ivy is much more confident in her relationship with Derek this time. I like this confident Ivy. Yes, Ivy is more confident and Karen's getting a bit paranoid.

Kyle traveled all the way to Boston to see Bombshell? That's interesting.

How could the audience (and critics) not know that Ivy's wardrobe malfunction was a mistake? She stood there looking like a deer in the headlights, and JFK put his arms around her to "cover" her. If that didn't look like a mistake, I don't know what would.

There's an eight-year old Norma Jean in this musical? How come we never knew until now?

Angelica Huston really needs to let her hair grow out. She looks so much better with longer hair.

Tom says that the wardrobe malfunction was the lighting team's fault? Um, I don't think so. And, I just have to say that I can't believe that the day before the preview Eileen and Julia would think it's okay to ask the leading lady to appear nude. I'm sure that's something you would have to put in a contract or something, isn't it? Maybe not. But it just seems gratuitous to me. I don't think you need nudity to show vulnerability. That's the job of a good actress - to show the vulnerability through her acting. I don't think the audience would think of her vulnerability at a moment like that, they'd just think - oooh, she's nude, and feel like they got a cheap thrill (well, maybe not cheap, Broadway tickets are expensive. *wink*) At least Tom gets it. And I'm not sure why they would suddenly think it made the scene better when it was just a mistake. It just baffles me. I guess I just have different thoughts on nudity than a lot of people in New York theatre.

Kyle really has gotten to know Derek and his little idiosyncrasies. It's funny when he imitates him. I just like Kyle more and more.

Do they have a stage manager for Hit List, or is Kyle the unofficial stage manager because they can't afford one?

Derek says that in the new beginning the Diva is the only one on stage, but he has the ensemble on stage with her. Does he not consider the ensemble "anybody"?

Act two of Hit List has eleven scenes!? Wow, that's a lot.

Oh, poor Karen. Things aren't going her way anymore. What happened to Miss Perfect's perfect show? Welcome to the real world. It bugs me that Karen thinks she should have it all. It's like she thinks the show is just for her, and everyone around her is there to give her what she needs. She doesn't think about the good of the show or about the other people in the show.

Good for Kyle. He gave an honest answer, even though it wasn't the answer Jimmy wanted to hear. I'm so proud of him.

I wondered if they could make Jimmy any more of a jerk. Well, I got my answer. Yes, they can. He treats Kyle so badly.

Ivy, listen to Sam, don't listen to your mother. You do not have to do a nude scene onstage. Anyway, any mother who would be okay with her daughter being naked onstage is just --- well, it's sad to say what that mother is. And I guess Leigh hasn't been that great of a mother, according to Ivy, so I can't say I'm surprised.

It's funny that Derek would tell Richard Francis from the New York Times right before the preview that they changed the beginning an hour ago. I don't know any director who would tell a journalist that right before they see a run-through. Maybe they'd tell the journalist after, depending on if it went well or not, but not before.

I can't believe Karen told Anna that Derek changed the beginning and gave Anna part of Karen's song only because Derek is mad at her (Karen) and Jimmy. Not only that, but she actually said that when Derek calms down that he'll take the song away from Anna What kind of friend are you Karen? So self-absorbed and conceited. You've been hanging around Jimmy too much.

I love Linda, the stage manager. Especially when Tom tells her that maybe he could write a really long entr'acte to make up for the fact that the intermission is running too long while they try to change the set for the opening of act two. Linda's response is exactly how I've felt about the speed of the two musicals getting to the point they are (and many other things being done at record speeds). I think the writers also know that they've unrealistically sped up the journey of these shows also, and they're making a joke of it through Linda. The quote is down below.*

Julia comes up with her idea to fix the long intermission problem quite quickly. "Did I say that out loud." *wink* However, the idea was pretty cool. I just have one problem with it. What happened to the people who already had the seats that the actors suddenly jumped out of in the audience? Those seats would already have been sold before the show started, and if I had the seats and was moved to other seats, I wouldn't have been very happy, even if it were "for the sake of a shorter intermission." And I hope no one kicked anyone in the head.

Oh, Ivy, Ivy, Ivy.

I wonder why Jimmy changed his name. Is it because of drugs? It's got to be something more than that if he can't tell Karen. She already knows about the drugs. So, what is it? I hope it's something totally unexpected.

If Richard Francis expected to start some kind of romantic relationship with Eileen, he just ruined his chances with his article in the New York Times. It's funny that he talks about how Hit List is better than Bombshell because the latter is about the past, and the former is about the present and the future. If you look at Broadway right now, most of the shows are set in the past, not in the present. The past sells.

Hit List is going to go to Broadway, and go against each other at the Tony's. That will be an interesting episode.

I'm so glad that Jimmy apologized to Kyle and told him that the show wouldn't be where it is if it weren't for Kyle. Jimmy's learning something.

I'm afraid for Anna. Jimmy's "old friend" Adam can't be up to something good.

Quotes:

Ivy: Whoever thought it was a good idea to have your first performance in front of your friends and family was obviously not an actor.

Julia: But the show itself was great.
Tom: Thank you Mrs. Lincoln.

Tom: We can't make Ivy do something she's not comfortable with just to sell tickets.

Julia: You think you can fix all that in six hours?
Tom: Yes. I believe in miracles. And you should too.

Tom: Little Norma Jean is off-book. Finally. Kids. Never again.
Linda: We fixed the fog. Never again.

Tom: Why couldn't Marilyn have taken a bus.
Julia: You dreamt this one up all on your own.

Tom: It's all working. All of it. See, the plane. Da plane.

*Linda: We got the intermission down, but it's still running long.
Tom: Well, maybe I could quickly write a really long entr'acte.
Linda: And orchestrate it and give it to the musicians and have them learnt it? Did I say that out loud?

Tom: You were so right.
Julia: As much as I never tire of hearing that, at the moment I don't care. I just want this to be good. For both of us.

Bobby: There's nothing quite like live theatre.

Jimmy: You got us here. Dude, I can't do this without you, you know that. Besides, you're edgy and occasionally brilliant.
Kyle: I'm brilliant all of the time. You're the occasional half.

Smash: The Surprise Party

There is mutiny in the air. Ivy told Tom that they can't be friends anymore because she's angry that he cast her mother as Gladys in Bombshell. That wouldn't be so bad, but since Ivy's so mad at Tom, she is turning the cast against Tom too. That can be very toxic in a show, when the cast gangs up on the director. You don't have to be friends with the director, but you do need to respect him.

I liked this episode for the most part. I'll be sad if they don't renew the show for a third season. As much as I go crazy over the things that are inconsistent, I love the world of Smash. It's a world I know a lot about, a world that I love, in a city I want to live, with great music and musical numbers. It's just my kind of show. I am glad that they are completing the season, even if it's canceled.

Observations:

It's so funny that Tom is arguing with Ivy about where she should be. If the dancers leave Ivy downstage right, and Tom wants her to be downstage left, then the choreographer needs to change the choreography so the dancers leave her stage left instead of stage right. Tom's arguing with the wrong person. However, I know that the purpose of this little scene is to show that Ivy is angry with Tom. We have to see Ivy arguing with Tom and crossing her arms, and pouting to remind her about how she feels.

Is the splintering of Ivy and Tom's friendship really big enough news for theatre critic, Micheal Riedel to write a column about? Tom's not that big of a name, and Ivy certainly isn't a big name - yet. So, why would the public care about their "longtime friendship" being in danger? I like Richard Francis's response, "What is he, seven years old?"

It looks like Jimmy's not upset about making the role of Diva bigger. Well, that's uncharacteristic of him. He's accepting someone else's idea?

Tom is going to force Ivy to forgive him by giving her Liza Minnelli for her birthday. Whatever it takes, I guess. If you can surprise someone with a special visit from Liza Minnelli on their birthday, you can be my friend. *wink*

I thought Hit List was sung-through. When a musical is sung-through, you have no (or very, very little) dialogue. I think the lead-up to "Original" is too much dialogue for a sung-through musical, and it's not very good dialogue either. I really liked the song "Original," and most of the choreography, but some of the choreography was too "music video" than musical theater.

Karen's acting seemed more like movie or television acting than stage acting. It's so funny that everyone says how great she is when she really isn't. Sure, she can sing. And her dancing isn't too bad. But the acting - I just don't get it.

I can't believe that Richard Francis is trying to get Derek to hook up with Karen just because it might make a good story. Is that the kind of thing the New York Times like to write about? I thought it was a legitimate newspaper, not a tabloid. At least Derek see how ridiculous it is.

Hit List has a new poster featuring, who else? Karen Cartwright.

It's funny that when someone is talking about Bombshell or Hit List having problems with their book, they always emphasize that the songs are wonderful. That's because the producers of Smash don't want the songwriters who actually wrote the songs for those two fictional shows to think that they (the producers) think their songs are bad.

I like Julia much better now that she's not angry about everything.

When Anna asks Karen what she knows about Jimmy, she says she knows he's a really good friend of Kyle's, and that he's extremely talented. They don't spend a lot of time talking, do they? *wink* If she's really serious about him she should probably find out a little more about him.

Did Jimmy really say, "You shouldn't do that" when Karen says, "I've been thinking"? It was probably supposed to be an innocent, funny line, but it makes me wonder why Karen would want to be with this guy. She knows one more thing about him, other than he's good friends with Kyle and he's talented: he's a pretty angry, controlling person. Why do you like him, Karen? I'm glad she finally gave him an ultimatum. Way to take control, Karen.

I like Kyle, and I'm glad that Scott and Julia are letting him get his own ideas for the show heard, but the show really is his and Jimmy's. They shouldn't be making all of these major changes without him. Especially if the show is sung-through, and Jimmy write both the words and music, because you can't just move songs around to make a cohesive story. New songs may need to be written or removed in order for the story to be changed. The songwriter really needs to be involved in those decisions.

I love the moment when Liza Minnelli stops Ivy from leaving. Ivy's response is great.

I love this phrase from the birthday song Tom writes for Ivy, "You're older and I'm 'wisah/Ivy, look! I brought you Liza." So, I'd like to know when Tom had the time to write that song, and how he got it to Liza quickly enough that she could not only learn the song, but memorize it.

Tom just needed the opportunity to tell Ivy he was sorry for what he did so that they could be on good terms again. Oh, and also, it didn't hurt that Tom wrote a song for her birthday that he got Liza Minnelli to sing.

I wonder what other "big mistakes" Tom has made, other than casting Ivy's mother.

I have to say that I'm a little disappointed that Bobby smokes. Not only is it bad for you, but he's a dancer. Smoking can't be that good for dancers. *sad face*

Oh, Derek is mad! And now Jimmy's mad! And Karen's mad! Ah, the drama.

Ivy's little speech to Tom was nice, but a bit hypocritical. She says he put their friendship on hold when he hired her mother. He says he apologized, and she says he shouldn't have to if he were just being her director. He was being her director. He hired someone who could play the part. Ivy was the one who said they couldn't be friends. She says she shouldn't have to worry about his feelings, and that's true, but that doesn't mean she should treat him the way she's been treating him like crap.

I just have to say... Christian Borle is a great actor.

Derek says that Ana is going to have a lot of new material. Kyle asks Derek what Jimmy and Karen are going to think about that, and he says he doesn't care what they think. Uh, it really is important what Jimmy thinks, because he's the one who has to write the new material. It's like they think the material is just going to write itself.

So, Jimmy can be charming when he wants to be. And he has a nice smile. I guess I don't blame Karen for agreeing to go out with him "on a real date" at midnight.

Quotes:

Tom: Okay, so I cast her mother. Is that really so unforgivable? Is that something that ends years of friendship?
Julia: Look ---
Tom: These are supposed to be rhetorical questions.

Derek: It's a lovely headline, but it's not actually true.
Richard: What? Are you saying the bad boy of Broadway's reformed?
Derek: I'm saying that's a lot of alliteration for the New York Times.

Scott: How would you fix it?
Julia: I thought you just wanted my thoughts.
Scott: We may not have seen each other in 15 years, but I'm sure you haven't changed that much. You probably already have a list of fixes.

Julia: You're not asking me to be a dramaturg, are you? You know full well my feelings about that.

Derek: The boys have talent, but they don't have time.

Julia: How do you and Jimmy like to work? Do you use a board?
Kyle: What's a board?

Tom: Is everything okay? Do you have a flight to catch or something?
Ivy: No, I'm fine.
Tom: 'Cause checking your phone is the international symbol for "I'd rather be having a root canal."

Michael Riedel: Well, well, well. Is the Bombshell team "combusting" again? I'm starting to run out of  puns for my headlines.
Eileen: Charming to see you too, Michael.

Liza: Ivy Lynn, where are you going? Sit down.
Ivy: Okay. Sorry... Liza Minnelli.

Derek: This is the last time I use untrained actors.

Tom: I ruined your birthday.
Ivy: Liza Minnelli sang a song you wrote for me. I'd say that pretty much makes it the best birthday ever.

Scott: We don't have to call it "dramaturg." You can be a consultant, or a fairy godmother, or whatever you want to call yourself.

Richard: So, we both have baggage. What else is new?