Broadway Breakdown – Matt Reviews SMASH
Host: Matt Koplik
Date: April 11, 2025
Episode Overview
In this episode, host Matt Koplik delivers an in-depth, spoiler-laden review of the new Broadway musical adaptation of SMASH, the cult-favorite NBC series about the chaotic creation of a Marilyn Monroe musical. With his trademark blend of passion, sharp wit, and expletive-laced honesty, Matt unpacks what works—and what doesn’t—about SMASH on stage, examining its structure, performances, musical numbers, and the broader trends it's caught up in on Broadway. The discussion also touches on the recurring challenges of adapting works for stage, modern musical comedy’s state, and the pros and cons of comedic storytelling on Broadway today.
Key Discussion Points & Insights
1. Brief History of SMASH and Its Road to Broadway
- SMASH the TV show: Originally aired on NBC, produced by Steven Spielberg; followed the creation of “Bombshell,” a musical about Marilyn Monroe.
- Show’s reputation: Known for classic numbers ("Let Me Be Your Star") but derided by theater insiders for unrealistic theater portrayals and melodramatic plotlines.
- Broadway adaptation: Not a direct retelling of the TV series or just a simple stage version of “Bombshell.” It’s a new story about creatives making a Marilyn musical, reusing some character names and much of the Bombshell score.
“The most important thing that we learned from the workshop was that this was not the TV show. This wasn’t even Bombshell. This was a whole new story about creatives making a Marilyn Monroe musical.” (09:20)
2. Plot and Structure of the Stage Musical
- Protagonist: Brooks Ashmanskas as Nigel, director/choreographer, with a married songwriting couple (Tracy & Jerry), a star (Ivy, played by Robyn Hurder), Ivy’s friend and understudy (Karen), and other supporting creatives.
- Main narrative arc: Tensions erupt as Ivy (the intended Marilyn) becomes erratic under the influence of Susan Proctor, a method acting coach reminiscent of Marilyn’s real-life mentor. Ivy’s spiral threatens the production, as the show careens from musical comedy into melodrama.
- Plot twists: On opening night, scandal ensues—poisoned cupcakes, a surprise understudy performance, social-media uproar, and ultimately, the decision to write a musical about staging a Marilyn Monroe musical.
- Matt notes the plot’s lack of true stakes or tension, particularly in the “who will be Marilyn?” thread—no one is a genuine threat to Ivy, and pivotal subplots vanish without payoff.
“It didn’t matter who was going to play Marilyn in the end, because the one character who was sort of a threat to Ivy… never wanted it to begin with.” (37:15)
3. Song Integration & Orchestration
- Praises the music by Marc Shaiman and Scott Wittman for catchy, well-structured tunes and high-caliber orchestration.
- Critique: The show often shortchanges iconic numbers, providing only snippets instead of full renditions. This frequent truncation undermines the fan-favorite songs, decreasing emotional and narrative impact.
“Very rarely do we get a full-blown version of any of the songs from SMASH... If we had more songs that had the full breadth of the song, then I don’t think that would annoy people quite as much. Because I like it in theory.” (20:23)
4. Performance & Casting Analysis
- Brooks Ashmanskas (Nigel):
- Dependably funny, strong stage presence, but lacks the surprise element due to material’s predictability.
- “If the material isn’t really there, I don’t have the element of surprise anymore. And the element of surprise is very important when it comes to comedy.” (22:30)
- Robyn Hurder (Ivy):
- Lauded as a genuine triple threat giving her all, but hobbled by an underwritten, inconsistent role that vacillates wildly from scene to scene.
- “She tries to find the moments where Ivy is aware that she did something bad... but the script does not help her in any way.” (26:00)
- Karena Bowman (Karen):
- Her exact motivations and arc are muddled; set up as a possible rival to Ivy, but sidelined with little to do, her journey ends with little payoff.
- Support cast: Underdeveloped with unresolved arcs and subplots, such as the associate (Chloe) and the director’s romantic subplot.
5. Book, Tone, and Comedy Critique
- Finds Bob Martin’s book laden with cynicism, making jabs at modern musical comedies, Gen Z, and “message musicals.”
- Criticizes the show for mistaking inside jokes, name-drops, and randomness for story.
- Absence of genuine story stakes or evolution: Jokes land for theater insiders, but don’t produce meaningful comedy or drama.
- Matt underscores the importance of story, even for “just for fun” shows:
“Fun is not just glitzy costumes. It’s not just good music. It’s not just energetic choreography... You can be a light musical comedy that still has integrity in terms of its characters and its story.” (30:00)
- References Elaine May and Neil Simon’s evolution as comedy writers to illustrate the need for truth and structure, even when aiming only for entertainment.
6. Structural and Thematic Suggestions
- Offers well-reasoned structural changes to make Ivy, Karen, and Chloe’s journeys more meaningful, enhance stakes, and tie emotional payoffs to the show’s musical numbers and meta-commentary.
“If I were to make one major change… it would be at the top of the show, everyone is coming together to make this Marilyn musical, and everyone involved up until now has done musical comedy. And they realize that they have the wrong approach for a Marilyn musical.” (38:12)
7. Current State of Broadway Musical Comedy
- Discusses trends (referencing Boop and The Prom), critiquing a resurgence of “joke machine” shows with little depth.
- Highlights The Book of Mormon and Drowsy Chaperone as rare examples of musical comedies that balance robust story and comedy.
“Probably not since Book of Mormon and before then, Drowsy Chaperone, of like a genuine musical comedy… but also…Book of Mormon is a well-structured show… there’s a lot of integrity in that.” (55:30)
8. Tony Award Predictions
- Unlikely to receive nominations for Best Musical or Book.
- Score’s eligibility is uncertain; if eligible, possible nomination.
- Choreography and costumes might be recognized.
- Ashmanskas (Brooks) could be nominated, possibly as Feature, depending on category decisions.
- Robyn Hurder (Ivy) less likely, due to material and crowded field.
- No solo standouts in supporting cast.
Notable Quotes & Memorable Moments
- “People used a lot of really big words about this on a negative side… words like disaster, trainwreck. I do not think those words are applicable here. For me, ultimately, I found it rather dull, which is harsh, I suppose, but it’s just sort of the truth.” (17:02)
- “There is a middle ground there, right? You don’t have to be, you know, Company. You don’t have to be Evita. You can be a light musical comedy that still has integrity…” (30:35)
- “The show can succeed or not succeed, what have you. But there’s got to be something that works in the end, because these people have been going back and forth of what could work, what couldn’t work, and it could be that in the end, all the mess turned on something really fantastic.” (45:18)
- “It just all feels scattered to me. And more importantly, I felt very disengaged with it. I wanted it to be fun, I wanted it to be a good time and it’s not atrocious… but if you’re asking me why I felt the way I felt, this is why I felt the way I felt.” (52:10)
- “So if anyone from Smash listened to this and felt that there was no truth in anything and anything I said, then fine, move on. But if there was anything you latched onto, I hope you remember that and talk to me, because I’m not a hater. I’m a genuine lover of theater and I just wanted to talk about what I thought worked and didn’t work and what we could make better about Smash.” (56:00)
Important Segment Timestamps
- 00:36 — Introduction & review structure disclaimer
- 05:52 — “Smash”: TV show background and impact
- 12:50 — Workshop process & adaptation approach
- 15:25 — Plot breakdown of Broadway’s SMASH
- 20:23 — Song usage, orchestrations, and performance notes
- 24:58 — Character analyses for Karen, Ivy, and others
- 29:41 — Matt’s take on the purpose of musical comedy, referencing Elaine May/Neil Simon
- 38:12 — Matt’s hypothetical improvements for the show’s arc and structure
- 55:30 — Broader context: The state of musical comedy on Broadway
- 56:00 — Final thoughts for creatives and listeners
Final Takeaway
Matt Koplik’s review is a thorough, insightful, and unsparing look at SMASH’s Broadway incarnation—a show with strong vocal performances and great songs that falters on book, character arcs, and thematic depth. He unpacks why musical comedies require more than “inside baseball” references and spectacle to truly resonate, emphasizing the value of story integrity, character investment, and emotional payoff—even (especially) when aiming just to entertain.
“We claim that Broadway is the cornerstone of commerce and art, right?... We claim that art can change lives… So I don’t believe in sort of shooing away criticism for the sake of… success... I’m a genuine lover of theater and I just wanted to talk about what I thought worked and didn’t work and what we could make better about Smash.” (55:40)