"Smash" and the Untapped Potential of Network TV Musicals
Smash has become the little engine that could on Broadway. Originally a two-season flop (yet, cult favorite) drama on NBC, the show followed two competing actresses as they vied for the lead role of Marilyn Monroe in a new musical entitled Bombshell. While most (including active viewers) thought much of the series’ plot was soapy and rather bad, no one could argue that the score was tremendous.
Thus, the push to get the show to Broadway commenced. The show-within-a-show gave it an easy path forward: just put up Bombshell. Marilyn Monroe stories are frequent, but a musical has never worked on stage and the score created for NBC’s series was instantly tremendous. After a few years off the air and much chatter, Bombshell was given a staged concert production as a BCEFA benefit. The entire cast of the series returned and fans flocked. Bombshell in Concert instantly sold out and the production’s pro-shot has been highly regarded as a pitch perfect blueprint to bring the music to the stage. In fact, seemingly based on the concert’s success, it was announced Bombshell was being prepped for Broadway.
Then, the unexpected happened. One of the show’s driving forces and producers, Craig Zaidan, passed away. Many of his projects, including Bombshell, were placed on the back burner. Then, seemingly out of nowhere, the announcement that Smash would work towards a stage production once again came to fruition. However, this time around, it would be a retelling of the show itself, not the Marilyn musical.
Fans were skeptical, but remained hopeful that this gorgeous score would receive its due. As a fan who recently saw the show…the jury is still out. While the score was tremendous to experience on stage, the story felt overly convoluted and “inside baseball" to a fault. NBC’s Smash and the concept of Bombshell gave this production such hearty bones, but instead, they threw them to the wayside.
Yet, I remain thrilled I was able to see the production and experience these songs on a Broadway stage. “Don’t Say Yes Until I’m Finished Talking", “Don’t Forget Me", and “Let Me Be Your Star" all sent shivers down my spine. It was really happening! Songs I have worn out via my Apple Music were happening in front of me. What a gosh darn gift!
It then brought two Disney-owned musical television programs to the top of mind: ABC’s Nashville and Fox’s Glee. Both were varying levels of success with long discographies that became beloved by viewers. In the case of Nashville, the show gave us a laundry list of original country tunes, many of which I still bop to today. (“Wrong Song" is art.) Glee, on the other hand, resulted in a treasure trove of chart-topping covers that have, in some cases, eclipsed the originals.
As Disney Theatricals continues to forge a path forward on Broadway and beyond, utilizing their ever expanding access to known IP, maybe Smash could show the possibility of tapping known television brands. Heck, Stranger Things is providing a meta prequel in play form right now. Nashville has the ability to finally have a successful country-based score on Broadway. In fact, it could even take a page out of Smash’s book and use the dueling-divas plotline for a successful, soapy musical. For Glee, the underdog story has always succeeded on a Broadway stage, so having a down-on-their-luck show choir club compete for success using modern musicals? Dare I say, another recipe for success.
In an age of IP, sequels, and movie-based musicals, it’s hard to find a path that can please everyone on stage. Yet, on the flip side, they are less obvious properties that allow for a stage production that could soar. Maybe it’s not always the animated film or the beloved princess. Maybe for Disney, they should look towards Smash as a cue to head back to network TV. Theatrically speaking, of course.