SMASH

"Meta" means self-referential. It implies a higher level of irony – such as a musical about making a musical. With SMASH, I stepped into a meta-universe. 

In May 2022, I got a call from my wonderful agent Joe Machota. He asked if I would ever consider directing a show, but not choreographing. I told him that unless it was some extraordinary situation, I didn't think I would. This was met with a long silence. 

"Okay, why are you asking me that question?" I prodded. And Joe replied, "Some producers would like you to direct a new Broadway show – SMASH. But they would like to have the original choreographer from the TV show, Josh Bergasse, choreograph." I said, "Who are the producers?" He said, "Neil Meron, Bob Greenblatt, and Steven Spielberg, the original TV show producers." Another long silence… 

The first thought I had was how nice it was for the producers to ask Josh. I remember watching the original TV show and thinking how good the choreography was. It was the right thing to do, asking Josh to choreograph this new musical – and many people in this business, more often than not, do not do the right thing. 

I told Joe that I got it. Josh did an amazing job with the TV show. I suggested that Josh and I meet and talk about a possible collaboration. We'd see how we get on and take it from there. 

So before officially agreeing to anything, I met with Josh Bergasse. We hit it off exceptionally well, discussing how we could work together and what that would mean. It  all was cordial, civilized, and even exciting. So back I went to my agent and said, "Yes!" 

Joe sounded pleased, and after chatting about the process and the possible timeline, he said, "You know, the TV show was not loved by all. In fact, it had a 'hate-watch' group that still talks about it on the various social media sites." I wasn't sure how to respond. This was news to me – I had watched the TV show and thought it was fine. Yes, some plot points did not add up, but it never crossed my mind to hate it. 

During its two-season run on NBC from 2012 to 2013, the series chronicled the making of a Broadway musical about screen legend Marilyn Monroe. It had a very melodramatic storyline, and the way they depicted what it takes to mount a Broadway show wasn't exactly accurate. Both seasons focused on two extremely talented women in an unpleasant rivalry. It was hard to root for the lead characters, and their diva behavior became a frequent target of mockery as social media allowed audiences to collectively criticize and analyze the show's flaws. But I didn't see how that could affect a new theater piece. Live theater is a whole other animal. 

There's nothing quite like a backstage musical. The most renowned examples include 42nd Street, The Producers, and A Chorus Line. Audiences are captivated by the hard work and backstage drama that unfold during the creation of a show. Before meeting the entire team, I read the most recent SMASH script. I was delighted – their version felt like a fresh creation. This Broadway adaptation truly embraced the comedy of putting on a show. The show-within-a-show centered around the most iconic pop cultural icon of the 20th century, Marilyn Monroe, in a musical called Bombshell. It vividly portrayed the backstage pandemonium of a musical production. I thoroughly  enjoyed all the unexpected twists, recognizing many situations that resonated with me as a director and choreographer. This script held great promise. 

I met with the whole creative team in June 2023. I had admired all of them for so long. Scott Wittman and Marc Shaiman, I knew socially from a mutual circle of friends. I admired their score for Hairspray and really loved their songs for the TV version of SMASH. I also held in high musical comedy esteem the book writers, Bob Martin and Rick Elice. Bob for The Prom and Drowsy Chaperone, and Rick for Jersey Boys and Peter and the Starcatcher. It seemed like a perfect collaborative team – my kind of show business. Before we even started, Marc and Scott spoke about the difficulty on the TV show, and it sounded like a nightmare. I hoped this would be a happier experience for everyone who had been involved with it.  

Television can be tricky, but I had a feeling this theater collaboration would be amazing. It was a fantastic idea to write a new book and use as many iconic songs from the TV show as possible to fit the story. Every song Marc and Scott had written was a home run for me. With each meeting, the book became more and more hilarious. When we all agreed we were on the right track, we decided it was time for a reading. This was September 2023. Our principals, including Brooks Ashmanskas, Robyn Hurder, Kristine Nielsen, and Krysta Rodriguez, were an absolute riot during the reading. We gained so much from that experience. It's incredibly helpful and inspiring to finally hear the script you've been developing read out loud by such talented people. We felt confident enough to schedule a 6-week workshop that would start rehearsals in January 2024. 

I began collaborating with Beowulf Boritt on the set. We were both budget-conscious. We both know that even though New York, New York was a grand Broadway musical, its lavish budget contributed to its downfall. Big spending like that was a thing of the past – at least for now. The theater was still recovering from the effects of COVID, so every decision about sets, lighting, and costumes required meticulous attention and scrutiny. I aimed to use this workshop to clearly define our vision of how we saw the show on Broadway. 

The producers surprised the team with a plan that was new to all of us. This would be a workshop unlike any other workshop I have ever done. We would rehearse at New 42nd Street Studios. Then, instead of bringing investors and producers into the studio on the last days to witness what we have created, we would rent out the Sylvia and Danny Kaye Playhouse on the Upper East Side and do our presentations in a proper theater. Their logic was that, since we were not going out of town, each presentation would give us an audience of 800 people who would provide real reactions to the story, especially the comedy, in real time. We would perform it five times and have a professional survey company quiz the audience at the end of each presentation. Because they work in TV and film, Bob Greenblatt and Neil Meron were familiar with audience surveys. In their world, conducting surveys and analyzing responses is a common practice.  

This was a first for me. The idea of audience surveys seemed foreign. We were people of the theater – we feel the breath of the audience during previews and then act accordingly. A new musical costs around $20 million to produce, and a tryout in another city would add upwards of $3-4 million to the budget. That's a lot of money. Not taking a new show out of town for a tryout is risky, so I understood their logic. Our out-of-town became going to the Upper East Side! 

In the end, the whole exercise proved to be extremely valuable – even the surveys proved surprisingly helpful. We had had trouble cracking the ending of the show. According to our survey audience, what we thought was a clever, edgy, real, and fun way to end the show was met with a 90% "Not right!" response. We had to listen to that. 

The ending in the workshop saw the character Ivy Lynn dying onstage, a choice that mirrored the tragic fate of Marilyn Monroe. However, surveys showed that ending prompted a wildly negative response from the audience. That feeling was driven primarily by the charisma and popularity of triple-threat actress Robyn Hurder, who played Ivy – people loved her. They did not want to see her disappear. As a result, we changed it. In our final version, Ivy survives, but the show-within-a show, Bombshell, fails because audiences can't stand seeing the Marilyn Monroe character die onstage. This change allowed our musical to end on a high note and take us even further down the meta path. Marc and Scott even wrote a new song for all the principals called "Smash". 

The creative team continued meeting and making changes based on everything we learned from the workshop. And in January 2025, we were back in rehearsals for our Broadway opening on April 10th, 2025. 

Our rehearsal process was a dream. I was excited to get to rehearsal every morning – I  could not wait to see everyone. Each person in the room was funny, witty, and very collaborative. The cast was the best on Broadway – Robyn Hurder, Brooks Ashmanskas, Krysta Rodriguez, John Behlmann, Kristine Nielsen, Bella Coppola, Caroline Bowman, Jacqueline Arnold, Nicholas Matos, and Casey Garvin. I was so happy for Casey – his first job on Broadway was in the ensemble of my Bullets Over Broadway, and now he was playing the principal role of Charlie in SMASH. 

Two incredible powerhouses of the show were Brooks Ashmanskas and Robyn Hurder. They are both one-of-a-kind. 

Brooks Ashmanskas is undoubtedly one of the funniest performers on Broadway. As the director and choreographer Nigel, he showcased not only his comedic genius but also his capacity to take his character on a real journey, ultimately choosing love over the allure of show business. I loved watching his character navigate the ups and downs of mounting a musical. I appreciate how Bob and Rick gave Brooks a real arc. Brooks infused the character with a rich palette of emotions, combining his impeccable timing with warmth and emotional depth. It was a joy to watch him in rehearsals. He crafted a portrayal that was both hilariously entertaining and deeply sympathetic. Brooks is extremely skilled and a real collaborator – a remarkable talent. 

Robyn Hurder is a sensational singer and dancer. She reminds me of the days when we had real dance stars like Donna McKechnie, Gwen Vernon, and Ann Reinking. Robyn is proof that title still exists. She was a joy in rehearsal and constantly amazed everyone with her dexterity. She truly understood the complexities of playing Marilyn Monroe. The element of Method Acting entered the storyline, and she knew exactly how to deliver the comedy and the importance of that idea as a major plot point. I could watch her dance all day – and I did. 

The ensemble was extremely strong. Since the cast was smaller than most big musicals, everyone was an understudy, which meant they had to be proficient in every department. This was my first time not choreographing a show I was developing. In the shows where I direct and choreograph, I get close to the dancers. I missed that involvement this time, but it was fun to watch the dance take shape. Josh did an amazing job crafting these production numbers to Marc and Scott's fantastic score. 

We left the rehearsal room feeling confident about the show and ready to bravely face tech rehearsals. With every show, I am always sorry to leave the rehearsal room. Rehearsal is the best part of the process. In my parting words to the cast before heading into the theater, I thanked them for an amazing rehearsal process, adding, "We are in great shape to be going into tech. We are not in any trouble." Little did I know that we would soon be in big trouble. 

Off we went to the Imperial Theater. What a thrill to see the giant marquee on the side of the theater and the photographs of the stars plastered across the front-of-house. We walked into the theater that first day of tech rehearsals to see all the various department tables set up in the house and filled with computers and equipment. It looked like the Mission Control Center at NASA. 

Tech went surprisingly smoothly. I was in heaven with my design team – Ken Billington on lights, Beowulf Boritt on set, Alejo Vietti on costumes, S. Katy Tucker on projections, and Brian Ronan on sound. Beowulf designed the set to be intimate for the comedy scenes and to open up for the big dance numbers. It worked very well. Spirits were high as we drove towards our first preview. And then, not unlike in the story of our show, real dysfunctional backstage pandemonium began. Except this wasn't funny in any way. 

At our final dress rehearsal, one of our principal actors fell ill onstage. Just as Nigel must go onstage and tell the audience, "At tonight's performance, the role of Marilyn will  be played by my intrepid assistant Chloe,” I had to walk onstage at the first preview and say the same thing, starting with "You are getting a real dose of life imitating art…"

Next, Robyn Hurder got sick and had to miss previews. That was a shock to all of us. Robyn is a warhorse, old school, and never out. But she was ill, and that was that. My Production Stage Manager alerted me to a new union rule requiring a full show put-in for a swing or understudy going on. We had to cancel a matinee for a put-in. Another first for me – I never canceled a show in my life! Plus, costumes were not ready for the understudy, so panic ensued. This was a complete contrast to the moment I had on New York, New York only a few months earlier, where a principal became ill, and I went up to the second understudy who had not yet been rehearsed, and, like a scene out of 42nd Street, said, "If I threw you on in this role tonight, could you do it?" And without hesitation, he said, "Yes!" and went downstairs to the Wardrobe Department, where they fitted him and delivered him to the stage. He executed a triumphant performance. 

Back to SMASH. Robyn's understudy injured her hip and was out of the show. She never returned. So a new understudy had to take her place, and there was a frantic rush to modify existing costumes to accommodate her. Once again, another moment from SMASH was unfolding. A memorable line from the show came to mind – when Nigel insists that Chloe replace Ivy and he discovers that there is nothing for her to wear, he exclaims, "It doesn't matter. She'll wear what she's wearing!" I couldn't help but relate to that! 

Every day, it seemed like some disaster was happening that somehow correlated with what was happening in the actual show. I couldn't believe we had created a show about the minefield of mishaps surrounding putting on a musical, and they were all  manifesting in real life. The word "meta" never rang so true. Among the cast, five dancers were injured and missed shows. Three of them were hurt so badly that they never returned to the show. The SMASH sign from our opening preset fell apart, preventing us from starting the show. One of the actresses cried because she was unhappy with her part. Actor's Equity deemed one of the ensemble players a principal, which had a domino effect on coverage. There was unrest brewing backstage with some surprising power struggles. We continued to have daily rehearsals with new pages and production meetings every night until midnight. 

During all this, we were still challenged by how to seamlessly transition into the closing number "SMASH." One day after rehearsals, I was visiting the restaurant Bond 45, and someone reminded me of a line I had uttered when accepting the Theater Hall of Fame honor in 2014. I had said, "Sometimes show business can treat you to an exhilarating and magical experience, but sometimes it takes you to a back alley and beats the shit out of you." I returned to the theater to writers Bob and Rick and suggested that Anita deliver a version of that line. They came up with the following line, just as Anita raises her glass for one final toast: 

ANITA 

To Bombshell. You took us to a back alley and beat the shit out of us.

It got the laugh we needed to launch us into the final number. At this point in the show, all the principals are together in a restaurant booth after the opening night party, reading the reviews and looking dejected because their show Bombshell flopped. The character of Scott, once indifferent to the world around him, observes the saddened group and  says: 

SCOTT 

Look, when all this began, I didn't even enjoy musicals. I didn't even get them. I mean, people bursting into song? That doesn't happen in reality. But hey, have you seen the news? I mean, what's so great about reality? 

Then, in another meta-twist, he convinces them to keep going and inspires them to write their next show about the experience they all just went through – a musical about the making of a musical. 

JERRY 

Oh! So we don't make a show about Marilyn Monroe, we make a show about making a show about Marilyn Monroe? 

SCOTT 

Yes! With a crazy star, a poison cupcake, and a crypt keeper. Write that shit!   

In the end, they all sing: 

ALL 

EVERY LIFE IS A SHOW 
SEASONS COME AND THEY GO 
SO WE PRAY AS THE CAMERAS ALL FLASH 
LET IT BE A SMASH!

So our comedy about a musical ended on a hopeful high note and made the point that people who create musicals go on to do more. They keep creating and hope for the best  – on to the next one. 

All during previews, audiences were really enjoying the show, with repeated standing ovations. The audience loved it! Opening night, April 10th, was spectacular. The cast delivered a top-notch performance. The theater was peppered with stars. There was joy in the air. The audience went wild for the show, and the opening-night party at the Hard Rock Cafe was a high-energy bash. Then, the New York Times review came out. When that review hits during an opening-night party, it can either clear the room or turn the party into a rager. It was a rave review! The headline read: "In a Musical Comedy Makeover, 'Smash' Lives Up to Its Name." It was like an old-fashioned opening when everyone reads the review and starts having a ball—a night to remember. 

You'd think that would be all you have to do – deliver a great show and get great reviews. But the dark side of our meta journey continued. Oddly, we weren't selling tickets for the future—a total surprise to me. There was nothing for August and September. This particular Broadway season was different than most – 18 musicals had opened in this season, and they were all vying for ticket buyers and Tony Award nominations. 

We received just two Tony Award nominations – one for Brooks Ashmanskas and one for Josh Bergasse. And then an already dire situation took a turn for the worse. Apparently, the producers of The Tony Awards decided not to include us in the telecast. There were simply too many musicals this season. What a disappointment! 

Our producers mentioned that surveys indicated a Tony nomination didn't necessarily lead to an increase in ticket sales; however, our performance would have been one of the most popular because of the old television show. There were so many wonderful Wittman/Shaiman numbers in SMASH, and with our stellar cast members and electrifying choreography, we could have delivered a very entertaining number. The songs are so strong that having even one of our talented women, such as Robyn Hurder, Bella Coppola, or Caroline Bowman, perform a solo of "Let Me Be Your Star," or "Moving the Line," or "Don't Forget Me" would have been a welcome addition for theater lovers across the country. Unfortunately, it was not meant to be. SMASH became an afterthought. Our previously scheduled Road Show presentation, meant to promote our show for a National Tour, was canceled, dashing the possibility of SMASH heading out on tour anytime soon. 

The final meta element to add to this is social media, which ties back to the “hate watching” phenomenon of the TV show. After our rave review in The New York Times, we were met with an unexpected backlash across social media. Despite “hate watching” the original two TV seasons, users yearned to see the same dramatic, overwrought, diva-like behavior between the two leads onstage that they had witnessed on the TV show. 

It was a startling reality check, as we had been mocking the popularity of social media  and how it could change the perception of a show. 

TRACY 

I'm so sick of social media. Don't people read reviews anymore? 

JERRY 

Why read them when you can write them. 

SCOTT 

Thousands of people are posting how mad that they are that you killed her! 

TRACY 

We didn't kill her! Marilyn Monroe died, naked and alone. That's her story! That's the story everybody knows.

SCOTT 

I didn't know it. I had to look her up. 

IVY 

I don't get it. When I was walking the red carpet before the show, under that marquee, cameras flashing, I was so sure we had a hit. 

ANITA 

Well, we don't. 

KAREN 

Guys. Bombshell is a good show. 

JERRY 

--that nobody wants to see. 

TRACY 

Says you. 

ANITA 

And Telecharge. People are not buying tickets. 

Just as people were not buying tickets to the show-within-a-show Bombshell, people were not buying tickets to SMASH. A Meta-Mind-Fuck! 

We knew several other shows were closing, which we hoped would boost our ticket sales and allow us to make it through the summer. It felt like the end of ACT 1 in Crazy for You, when Bobby Child creates a great show for a struggling town, but forgets to sell tickets. That scene was hilarious, however there was nothing funny here about not selling tickets. 

Shortly after the Tony Awards, we received our two-week closing notice. No one was completely surprised because of the palpable sense of impending doom backstage, however it was still a significant disappointment. 

There was a mad dash during the final week of our run to get the show filmed for the Theatre on Film and Tape Archive at The New York Public Library for the Performing Arts. Our producers made that happen. I am thankful we have that – it is an excellent recording.  

Closing night was a bittersweet moment for everyone involved. Despite the sadness, the theater was filled with an electric energy. Throughout the evening, multiple standing ovations erupted, especially for Robyn Hurder and Caroline Bowman. After the rousing curtain call, our producer, Bob Greenblatt, took to the stage and expressed his gratitude to the artists who helped bring SMASH to life. He praised our fantastic orchestra and described the cast as "one of the greatest ever assembled for a Broadway show." The evening concluded with tearful words from Scott Wittman. He quoted Ethel Merman, who stood on that very stage at the Imperial Theater in 1946: "There's no people like show people, they smile when they are low." 

As the cast looked at the audience one last time from the stage, it seemed like they were saying, "Please don't forget me." 

Although there was great joy had by all in creating this musical, I was sad that the ultimate experience was not much better than the television experience for those who had done both. 

In the final scene of SMASH, the character Scott talks about how Hal Prince would start work on a new project immediately after opening his last — just as all the characters in our show do, and as all the real creative people who put together SMASH have done. Every theater artist I know shares a relentless commitment to continuously produce new work.

Several of us have become even closer friends now, still meeting up for a drink from time to time. We all raise our glasses with a smile and say: "To SMASH. You took us to a back alley and beat the shit out of us." – making this show the ultimate meta experience, right down to the very end.